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You know,
I meet a lot of young groups and I say,
2
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"I can't read music or write it."
3
00:00:22,314 --> 00:00:24,190
They go, "What?"
4
00:00:24,191 --> 00:00:27,861
And it's like...
"Well, that doesn't work.
5
00:00:28,278 --> 00:00:31,738
Well, if you've done this,
how could you do it without..."
6
00:00:31,740 --> 00:00:34,870
But it means that it's here.
It's not on a bit of paper.
7
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Playing upbeat music
8
00:00:54,012 --> 00:00:55,891
I tell kids who want to learn the piano,
9
00:00:55,892 --> 00:00:58,429
I say, "Okay, here's you go.
Start with middle C."
10
00:00:58,433 --> 00:00:59,809
We all know that.
11
00:00:59,810 --> 00:01:01,519
It's the first thing in a piano lesson.
12
00:01:01,520 --> 00:01:04,230
And then think about like
the Eddie Cochran thing.
13
00:01:04,231 --> 00:01:08,691
Playing music notes
14
00:01:08,694 --> 00:01:11,988
I say, "Well, that's... that's a chord,
if you play those together."
15
00:01:11,989 --> 00:01:12,909
plays chord on piano
16
00:01:12,910 --> 00:01:16,156
"And you just got that,
remember this and that.
17
00:01:16,159 --> 00:01:20,209
So you do that. One space.
Finger. One space. Finger."
18
00:01:20,581 --> 00:01:24,375
So there you've got the chord.
I say, you know, "We started there."
19
00:01:24,376 --> 00:01:25,206
Mm‐hmm.
20
00:01:25,210 --> 00:01:29,755
‐ And so, you could kind of write
a song... with that.
21
00:01:29,756 --> 00:01:31,926
‐ Yeah. Yeah.
‐ But if you just move this up one,
22
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plays higher music chord
23
00:01:33,510 --> 00:01:35,050
it's the same shape.
‐ Yeah.
24
00:01:35,053 --> 00:01:36,391
‐ You've got another chord.
‐ Yeah.
25
00:01:36,392 --> 00:01:37,558
‐ Now you've got two chords.
26
00:01:37,559 --> 00:01:39,306
Playing musical chords
27
00:01:39,308 --> 00:01:41,434
Move it up again,
you got three chords.
28
00:01:41,435 --> 00:01:42,015
Yeah.
29
00:01:42,019 --> 00:01:43,769
And move it up again,
you got four chords.
30
00:01:43,770 --> 00:01:45,899
- Yeah. Yeah.
- And then again, you got five.
31
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And then now you've got six.
32
00:01:47,316 --> 00:01:49,025
Well, you don't need more than that.
‐ Yeah.
33
00:01:49,026 --> 00:01:51,856
‐ So you can now
put permutations of that...
34
00:01:51,862 --> 00:01:54,112
‐ Yeah.
‐ and you get songs, you know, like...
35
00:01:59,286 --> 00:01:59,946
Yeah.
36
00:02:09,046 --> 00:02:11,296
‐ Oh oh oh
37
00:02:11,298 --> 00:02:13,048
Baby baby yeah
38
00:02:15,260 --> 00:02:16,969
But it's that same little shape.
39
00:02:16,970 --> 00:02:18,010
‐ Yeah.
40
00:02:18,013 --> 00:02:21,353
‐ But that shape is a marvelous shape
41
00:02:22,226 --> 00:02:25,846
You can do anything
with that shape
42
00:02:29,608 --> 00:02:30,278
You know?
43
00:02:30,279 --> 00:02:32,065
Did your dad
teach you that shape?
44
00:02:32,069 --> 00:02:33,399
‐ No, we figured that out from...
45
00:02:34,780 --> 00:02:35,780
‐ Yeah.
46
00:02:36,240 --> 00:02:38,574
‐ We had to know this
to do Jerry Lee Lewis.
47
00:02:38,575 --> 00:02:39,275
‐ Yeah.
48
00:02:39,284 --> 00:02:42,286
‐ Oh, baby,
a whole lotta shakin' goin' on
49
00:02:42,287 --> 00:02:43,287
Yeah.
50
00:02:46,083 --> 00:02:49,544
‐ So once you figure that...
51
00:02:49,545 --> 00:02:52,375
playing chords
52
00:02:52,381 --> 00:02:55,466
So it really gets
super fascinating, I think.
53
00:02:55,467 --> 00:02:56,837
‐ Absolutely.
‐ You know, you,
54
00:02:56,844 --> 00:02:58,394
you've got all the chords
you can play with,
55
00:02:58,395 --> 00:03:01,766
put those in permutations,
then mess with the bass notes.
56
00:03:01,767 --> 00:03:03,135
Obvious thing to do is to do
57
00:03:03,141 --> 00:03:05,226
the... the note
58
00:03:05,227 --> 00:03:07,347
one octave down
that relates to that chord.
59
00:03:07,354 --> 00:03:08,360
Plays lower chord
60
00:03:08,361 --> 00:03:09,435
But you can do...
61
00:03:09,439 --> 00:03:11,479
playing melody
62
00:03:11,483 --> 00:03:12,483
‐ Harmony.
63
00:03:15,028 --> 00:03:17,198
‐ And you, you're getting
really dramatic now.
64
00:03:22,286 --> 00:03:23,286
‐ Yeah.
65
00:03:24,162 --> 00:03:27,502
‐ And I think that's all we ever did,
you know, just experimented.
66
00:03:27,916 --> 00:03:30,916
Uh, with John doing Imagine,
you could hear that's him...
67
00:03:32,129 --> 00:03:33,169
Yeah.
68
00:03:33,172 --> 00:03:35,301
‐ It's just sort of what
we'd learned based on that.
69
00:03:35,302 --> 00:03:36,716
Playing rock music on piano
70
00:03:36,717 --> 00:03:37,717
‐ Yeah.
71
00:03:39,761 --> 00:03:42,600
‐ I saw John Legend the other night,
and John's doing this...
72
00:03:42,601 --> 00:03:43,808
playing chords on piano
73
00:03:43,809 --> 00:03:46,637
I forget what the song was.
And then he sort of goes...
74
00:03:51,106 --> 00:03:52,856
But that's, that's those...
75
00:03:52,858 --> 00:03:55,068
‐ Yeah. Yeah.
76
00:03:55,402 --> 00:03:58,112
‐ You, you know, if you put
some nice soul stuff over that...
77
00:03:58,530 --> 00:04:02,780
I got pain, I got my pain in my heart
78
00:04:02,784 --> 00:04:03,784
- You know?
- Yeah.
79
00:04:08,498 --> 00:04:09,578
Or...
80
00:04:09,583 --> 00:04:12,376
When I find myself
in times of trouble
81
00:04:12,377 --> 00:04:14,917
Mother Mary comes to me
82
00:04:14,922 --> 00:04:16,422
Same chords.
‐ Wow.
83
00:04:16,423 --> 00:04:18,093
‐ Words of wisdom
84
00:04:18,675 --> 00:04:19,715
Let it be
85
00:04:20,969 --> 00:04:21,509
Wow.
86
00:04:21,512 --> 00:04:24,392
‐ Let it be, let it be
87
00:04:25,265 --> 00:04:27,765
Let it be, let it be
88
00:04:28,727 --> 00:04:30,807
'Cause there will be an answer
89
00:04:31,605 --> 00:04:33,065
Let it be
90
00:04:34,525 --> 00:04:39,605
Let It Be playing
91
00:04:54,670 --> 00:04:57,550
Let it be, let it be
92
00:04:58,048 --> 00:05:01,298
Let it be, yeah, let it be
93
00:05:02,636 --> 00:05:05,555
There will be an answer
94
00:05:05,556 --> 00:05:09,426
Let it be
95
00:05:17,359 --> 00:05:19,989
Song ends
96
00:05:21,154 --> 00:05:24,615
Our favorite composer
was Bach in the Beatles
97
00:05:24,616 --> 00:05:26,784
'cause it was nearest
to what we were doing.
98
00:05:26,785 --> 00:05:28,695
And we would just say,
"Just put a beat behind it."
99
00:05:28,704 --> 00:05:29,834
‐ Yeah.
100
00:05:32,791 --> 00:05:33,711
Yeah.
101
00:05:33,712 --> 00:05:34,959
‐ It'd be, it'd be better.
102
00:05:34,960 --> 00:05:36,544
‐ Yeah.
‐ It'd be better then.
103
00:05:36,545 --> 00:05:37,245
‐ Yeah.
104
00:05:37,254 --> 00:05:40,047
‐ What I liked about it
was the mathematical thing,
105
00:05:40,048 --> 00:05:41,048
so that you kind of go...
106
00:05:41,049 --> 00:05:42,758
plays notes
107
00:05:42,759 --> 00:05:43,929
Or Eleanor Rigby...
108
00:05:43,930 --> 00:05:45,636
playing higher notes
109
00:05:45,637 --> 00:05:49,177
You do that.
So you go one, two, three, four.
110
00:05:49,183 --> 00:05:51,313
And then you found out
this is what they were doing.
111
00:05:53,812 --> 00:05:55,902
One. Two.
112
00:05:56,648 --> 00:05:57,648
And then it...
113
00:05:58,775 --> 00:06:02,565
You know, so you put those together
and then on top of it, you might put...
114
00:06:02,571 --> 00:06:05,781
playing quick high notes
115
00:06:08,368 --> 00:06:11,204
So you've got, like, you know,
two or four or eight.
116
00:06:11,205 --> 00:06:13,164
‐ Yeah. Yeah. In the same space.
‐ Very simple mathematics.
117
00:06:13,165 --> 00:06:14,575
‐ Yeah, yeah, yeah.
‐ It's all happening together,
118
00:06:14,583 --> 00:06:18,173
so it gives this lovely feel
of something satisfying.
119
00:06:21,590 --> 00:06:23,216
Eleanor.
120
00:06:23,217 --> 00:06:24,217
‐ Let's do it.
121
00:06:24,801 --> 00:06:25,801
‐ Aah!
122
00:06:26,720 --> 00:06:31,057
Ah, look at all the lonely people!
123
00:06:33,644 --> 00:06:37,980
Ah, look at all the lonely people!
124
00:06:40,567 --> 00:06:42,317
Eleanor Rigby
125
00:06:42,319 --> 00:06:46,369
Picks up the rice in the church
where a wedding has been
126
00:06:47,658 --> 00:06:51,158
Lives in a dream
waits at the window
127
00:06:51,161 --> 00:06:53,001
‐ So that's where
they've done. Yeah.
128
00:06:53,872 --> 00:06:55,042
I remember...
129
00:06:57,459 --> 00:07:01,087
showing this to George, uh, Martin
130
00:07:01,088 --> 00:07:04,338
and we'd already done Yesterday,
131
00:07:04,341 --> 00:07:05,551
so this was like,
132
00:07:06,802 --> 00:07:09,262
it'd be nice to...
I think this song could suit,
133
00:07:09,721 --> 00:07:12,309
but instead of a quartet,
it was now an octet.
134
00:07:12,310 --> 00:07:14,767
Again, just to do something
a bit different.
135
00:07:15,352 --> 00:07:18,362
And I brought it in like,
a little bit like...
‐ Yeah.
136
00:07:19,356 --> 00:07:20,606
‐ Yeah, I brought it in like...
137
00:07:22,401 --> 00:07:24,031
Eleanor Rigby
138
00:07:31,577 --> 00:07:33,494
And then George would show me.
139
00:07:33,495 --> 00:07:35,365
He would say, "Well, okay,
that's sort of rock and roll."
140
00:07:35,372 --> 00:07:36,212
plays chord
141
00:07:36,213 --> 00:07:38,536
So all pretty much in one octave.
142
00:07:38,542 --> 00:07:39,542
Mm‐hmm.
143
00:07:40,294 --> 00:07:44,755
‐ But he would then say,
"Okay, so a cello would go there
144
00:07:44,756 --> 00:07:48,296
"and then a viola would go there,
145
00:07:48,302 --> 00:07:49,342
and then..."
146
00:07:50,387 --> 00:07:52,007
So he would separate all the notes.
147
00:07:52,014 --> 00:07:52,604
Yeah.
148
00:07:52,605 --> 00:07:56,058
‐ And that's a fabulous orchestration
that, that he did.
149
00:07:57,060 --> 00:07:59,730
‐ And this doesn't have
the piano in it?
150
00:08:00,230 --> 00:08:02,110
You wrote it on the piano
and then decided to...
‐ Yeah, that was...
151
00:08:02,111 --> 00:08:04,357
Yeah, that was the thing
because, you know, Yesterday,
152
00:08:04,359 --> 00:08:06,529
there'd just been the one guitar.
‐ Yeah.
153
00:08:06,530 --> 00:08:09,488
‐ So we decided we'd kind of try
and go a little bit further...
‐ Yeah.
154
00:08:09,489 --> 00:08:13,739
‐ And just have this,
and then I would sing to this.
155
00:08:13,744 --> 00:08:17,834
You know, so I'd show George the chords.
He would then transpose it.
156
00:08:18,832 --> 00:08:21,292
Then George would talk
to the musicians, sort of say...
157
00:08:22,336 --> 00:08:25,256
I want it kind of really,
bam, bam, quite bright.
158
00:08:25,257 --> 00:08:28,255
Staccato.
159
00:08:28,258 --> 00:08:29,758
And they got into it.
‐ Yeah.
160
00:08:29,760 --> 00:08:30,550
‐ They loved it, you know.
161
00:08:30,552 --> 00:08:33,059
It's a nice, nice little arrangement
on its own.
162
00:08:33,060 --> 00:08:34,925
‐ Yeah.
‐ And then I sang it.
163
00:08:34,932 --> 00:08:36,852
And I didn't think I was singing it well.
164
00:08:37,267 --> 00:08:40,977
I remember talking to George,
"I'm not singing this."
165
00:08:40,979 --> 00:08:42,809
He said, "No, it's okay. It's good."
166
00:08:42,814 --> 00:08:45,566
He was calming me down.
‐ Mm.
167
00:08:45,567 --> 00:08:47,357
‐ And then we double tracked it.
‐ Mm.
168
00:08:47,361 --> 00:08:50,029
‐ I think probably because
I didn't think I'd sung it well,
169
00:08:50,030 --> 00:08:51,320
so then... "Double track it."
170
00:08:51,323 --> 00:08:53,163
We cover any sins.
171
00:08:53,951 --> 00:08:57,995
‐ When you first heard
it played by the octet...
172
00:08:57,996 --> 00:08:59,786
‐ Mm.
‐ ...what was the feeling like?
173
00:08:59,790 --> 00:09:01,499
‐ It was very exciting, actually.
174
00:09:01,500 --> 00:09:03,540
Downstairs in Abbey Road,
175
00:09:03,544 --> 00:09:06,003
the eight guys assembled
176
00:09:06,004 --> 00:09:08,256
and they did it live.
177
00:09:08,257 --> 00:09:09,627
‐ Did you listen from the control room?
178
00:09:09,633 --> 00:09:10,883
Do you remember?
‐ Yeah.
179
00:09:10,884 --> 00:09:12,931
I would, I would
kind of go down and say hi
180
00:09:12,932 --> 00:09:14,718
and, you know,
listen to it down there.
181
00:09:14,721 --> 00:09:15,389
‐ Yeah.
182
00:09:15,390 --> 00:09:16,929
‐ Which is always nice first.
‐ Yeah.
183
00:09:16,932 --> 00:09:19,310
‐ Then you go up and see
what the engineers are making of it.
184
00:09:19,311 --> 00:09:19,937
‐ Yeah.
185
00:09:19,938 --> 00:09:21,725
‐ You know, they'd put it all together.
‐ Yeah.
186
00:09:21,728 --> 00:09:23,808
‐ Put the right little bits
of fairy dust on it.
187
00:09:23,814 --> 00:09:24,314
‐ Yeah.
188
00:09:24,315 --> 00:09:27,191
‐ And they, they now made it
like a record.
189
00:09:29,778 --> 00:09:33,818
It's funny. On the EMI desk
that we first worked on,
190
00:09:33,824 --> 00:09:36,294
there was the thing
on the end of the desk here,
191
00:09:36,295 --> 00:09:37,785
a little switch.
192
00:09:37,786 --> 00:09:41,866
You'd put it up for classical
and then down for pop.
193
00:09:41,874 --> 00:09:44,384
So ours was always in the pop position.
194
00:09:45,085 --> 00:09:46,544
It was funny 'cause we,
195
00:09:46,545 --> 00:09:49,205
we took things
very on face value.
196
00:09:49,214 --> 00:09:50,256
‐ Yeah.
197
00:09:50,257 --> 00:09:53,717
‐ "Why have they got a better set
of EQs than we've got?"
198
00:09:54,344 --> 00:09:56,182
They said, "No, it's not better.
199
00:09:56,183 --> 00:09:59,390
"Pop, you need more of these,
sort of aggression and so and so.
200
00:09:59,391 --> 00:10:02,601
Classical, it's more,
it's sort of more mellow and stuff."
201
00:10:02,603 --> 00:10:04,395
But that was our way of thinking.
202
00:10:04,396 --> 00:10:05,356
‐ Yeah.
203
00:10:05,357 --> 00:10:07,145
‐ "Wait a minute.
How come they've got that?
204
00:10:08,066 --> 00:10:09,316
We want a bit of..."
205
00:10:11,028 --> 00:10:14,447
classical music playing
206
00:10:18,243 --> 00:10:21,287
With Penny Lane,
I'd come into the studio
207
00:10:21,288 --> 00:10:24,707
and the night before I happened
to be watching on television
208
00:10:24,708 --> 00:10:27,208
the Brandenburg Concerto. Bach.
209
00:10:27,211 --> 00:10:28,089
‐ Yeah.
210
00:10:28,090 --> 00:10:30,004
‐ I'd just kind of got it
on the background almost, you know.
211
00:10:30,005 --> 00:10:30,835
I'm listening to it.
212
00:10:30,839 --> 00:10:33,299
And then there's a little trumpet,
213
00:10:33,300 --> 00:10:36,385
very high little trumpet that Bach uses.
214
00:10:36,386 --> 00:10:38,556
‐ Mm.
‐ And I came in the next day,
215
00:10:38,557 --> 00:10:40,595
I said to George, I said,
"George, wha..." Martin.
216
00:10:40,599 --> 00:10:42,639
‐ Yeah.
‐ I said "What was that?"
217
00:10:42,643 --> 00:10:44,563
He said, "Oh, that's a piccolo trumpet."
218
00:10:53,403 --> 00:10:55,073
Funny thing about George, he knew
219
00:10:55,697 --> 00:10:57,406
all the best players...
‐ Yeah.
220
00:10:57,407 --> 00:10:59,487
‐ from the classical orchestras.
221
00:10:59,493 --> 00:11:01,543
And there's a guy called David Mason
222
00:11:01,544 --> 00:11:04,667
who was a really good player.
223
00:11:05,040 --> 00:11:07,667
And so we just booked him.
‐ Yeah.
224
00:11:07,668 --> 00:11:09,627
‐ So we go in there
and we've done the track,
225
00:11:09,628 --> 00:11:12,208
and we're ready to put this,
we've left room for a solo.
226
00:11:12,214 --> 00:11:14,632
George and David sort of say,
227
00:11:14,633 --> 00:11:17,393
"Okay, so what do we,
what do we want to play?"
228
00:11:17,803 --> 00:11:19,013
And I go, um,
229
00:11:22,266 --> 00:11:23,806
And they go, "Okay, hang on."
230
00:11:23,809 --> 00:11:25,019
And they're writing it down.
231
00:11:26,478 --> 00:11:28,396
So we were kind of
making it up on the spot.
232
00:11:28,397 --> 00:11:28,977
‐ Yeah.
233
00:11:28,981 --> 00:11:31,440
And so I went...
234
00:11:31,441 --> 00:11:34,361
and put, like,
an impossible high note.
235
00:11:34,862 --> 00:11:37,362
And David Mason turns
to me, he says,
236
00:11:37,364 --> 00:11:39,365
"Well, that's officially
237
00:11:39,366 --> 00:11:42,196
out of the range
of the piccolo trumpet even."
238
00:11:42,744 --> 00:11:45,830
And I kind of give him
a look like, "Yeah."
239
00:11:45,831 --> 00:11:48,624
Like, "You can do it," you know.
240
00:11:48,625 --> 00:11:50,705
He goes, "Okay."
241
00:11:51,545 --> 00:11:53,665
So he plays it and it's, uh,
242
00:11:54,214 --> 00:11:55,724
it haunted him
for the rest of his life, you know.
243
00:11:55,725 --> 00:11:57,586
‐ Let's hear this.
‐ Yeah.
244
00:11:57,593 --> 00:12:00,094
Penny Lane playing
245
00:12:00,095 --> 00:12:01,425
‐ The flute's beautiful too.
246
00:12:02,764 --> 00:12:05,104
‐ Yeah, I think it's a mix of the two.
247
00:12:08,061 --> 00:12:11,439
Trumpet playing high notes
248
00:12:14,526 --> 00:12:15,436
Wow!
249
00:12:15,444 --> 00:12:19,280
Trumpet continues
250
00:12:19,281 --> 00:12:20,371
‐ It's singing.
‐ Yeah.
251
00:12:23,952 --> 00:12:26,871
Penny Lane is in my ears
252
00:12:26,872 --> 00:12:29,042
‐ Whoa!
‐ That was cool.
253
00:12:33,962 --> 00:12:37,672
‐ Four of fish and finger pies
254
00:12:37,674 --> 00:12:40,676
In summer, meanwhile back
255
00:12:40,677 --> 00:12:44,637
Behind the shelter
in the middle of a roundabout
256
00:12:44,640 --> 00:12:46,640
A pretty nurse is selling...
257
00:12:46,642 --> 00:12:48,561
‐ It's a groove you can listen to all day.
258
00:12:48,562 --> 00:12:50,400
You know, it's just like...
‐ Yeah.
259
00:12:50,896 --> 00:12:52,806
‐ That feeling doesn't get old.
260
00:12:53,357 --> 00:12:55,567
‐ She is anyway
261
00:12:56,235 --> 00:12:57,895
Very strange
262
00:12:57,903 --> 00:13:01,697
Penny Lane is in my ears...
263
00:13:01,698 --> 00:13:03,278
‐ Now these are more funky.
264
00:13:03,283 --> 00:13:04,325
‐ Yeah.
265
00:13:04,326 --> 00:13:07,196
Trumpet playing
266
00:13:08,163 --> 00:13:12,166
‐ I don't think this is David.
This is other players.
267
00:13:12,167 --> 00:13:14,957
‐ I sit and meanwhile back
268
00:13:16,630 --> 00:13:19,340
‐ I never heard that before.
Crash sound. It was cool.
269
00:13:19,341 --> 00:13:21,217
I've heard it. Yeah. Yeah.
270
00:13:21,218 --> 00:13:22,298
‐ Oh.
271
00:13:22,302 --> 00:13:23,892
‐ They're so, they're so high.
272
00:13:29,268 --> 00:13:31,268
Ridiculous.
‐ Beautiful.
273
00:13:34,940 --> 00:13:39,944
Song ends
274
00:13:39,945 --> 00:13:42,105
‐ And that's an example,
there at the end, that...
275
00:13:42,114 --> 00:13:43,281
Yeah.
276
00:13:43,282 --> 00:13:46,200
‐ I mean, anyone else would go,
"Oh, that's feedback."
277
00:13:46,201 --> 00:13:47,331
‐ Yeah.
‐ "Let's get rid of it."
278
00:13:47,332 --> 00:13:48,867
And it well might be feedback.
279
00:13:48,871 --> 00:13:50,081
I don't remember.
‐ Yeah.
280
00:13:50,082 --> 00:13:52,248
‐ But with us, going,
"No, it sounds good."
281
00:13:52,249 --> 00:13:53,499
‐ Yeah.
‐ You know, "It's great.
282
00:13:53,500 --> 00:13:54,840
It's fine," you know.
283
00:13:55,252 --> 00:13:59,005
So we'd leave accidents a lot of the time.
‐ Yeah.
284
00:13:59,006 --> 00:14:01,716
Would the engineers ever fight back,
like, if you did something
285
00:14:01,717 --> 00:14:03,797
and didn't like the way the meters
were looking or anything like that?
286
00:14:03,802 --> 00:14:05,011
‐ In the beginning, yeah.
‐ Yeah.
287
00:14:05,012 --> 00:14:06,512
- Because they're trained...
- Yeah.
288
00:14:06,513 --> 00:14:08,556
By the record company
289
00:14:08,557 --> 00:14:10,057
to follow the meters.
290
00:14:10,058 --> 00:14:11,388
You're not supposed
to go in the red.
291
00:14:11,393 --> 00:14:13,102
- Yeah.
- Obviously, you know.
292
00:14:13,103 --> 00:14:15,443
But we'd say, "No,
go in the red. Go in the red."
293
00:14:16,023 --> 00:14:18,611
'Cause it would make
the guitars, like, hot,
294
00:14:18,612 --> 00:14:21,859
make an acoustic guitar,
like, into an electric guitar.
295
00:14:21,862 --> 00:14:23,612
‐ Yeah.
‐ These days, it's not so easy.
296
00:14:23,614 --> 00:14:26,949
These older boards, you could defeat them.
297
00:14:26,950 --> 00:14:29,327
If we went into the red,
it would distort a bit.
298
00:14:29,328 --> 00:14:29,998
‐ Yeah.
299
00:14:29,999 --> 00:14:32,205
‐ Now they're rather good,
and they can handle it.
300
00:14:32,206 --> 00:14:32,996
‐ I see.
301
00:14:32,998 --> 00:14:34,248
‐ Which is a pity.
‐ Yeah.
302
00:14:34,249 --> 00:14:36,129
‐ Because, you know,
we used to love that.
303
00:14:36,960 --> 00:14:39,050
‐ Would you ever,
after recording a guitar song,
304
00:14:39,051 --> 00:14:42,546
decide to reinforce
the guitars with piano or...
305
00:14:42,549 --> 00:14:43,839
‐ Yeah, sometimes. Yeah.
306
00:14:43,842 --> 00:14:45,430
Sometimes, it's really a good idea.
307
00:14:45,431 --> 00:14:47,047
Say you've got a little bass part.
308
00:14:47,054 --> 00:14:48,934
‐ Yeah.
‐ And the bass is doing a...
309
00:14:53,393 --> 00:14:55,811
Then you can come...
playing piano
310
00:14:57,981 --> 00:15:00,358
That combined
with a bass is a great sound.
311
00:15:00,359 --> 00:15:01,029
Yeah.
312
00:15:01,030 --> 00:15:03,396
- This gives it the punch.
- Yeah.
313
00:15:03,403 --> 00:15:05,530
The attack.
314
00:15:05,531 --> 00:15:06,781
- Yeah.
- Yeah.
315
00:15:06,782 --> 00:15:11,536
Playing up‐tempo music
316
00:15:18,877 --> 00:15:19,877
Yeah.
317
00:15:20,587 --> 00:15:22,837
This reminds me a bit of the piano
318
00:15:22,840 --> 00:15:25,010
that's still there
in Abbey Road, actually.
319
00:15:25,011 --> 00:15:27,588
We used to call it Mrs. Mills' piano
320
00:15:27,594 --> 00:15:30,101
'cause there was a pianist
who did all this sort of...
321
00:15:30,102 --> 00:15:31,267
plays piano and hums
322
00:15:31,268 --> 00:15:33,345
And you're like...
323
00:15:33,350 --> 00:15:35,226
I can't play it. Stride.
324
00:15:35,227 --> 00:15:39,105
Playing upbeat music
325
00:15:45,195 --> 00:15:47,864
And Mrs. Mills' piano inspired that.
326
00:15:47,865 --> 00:15:48,815
‐ Hmm.
‐ You know?
327
00:15:48,824 --> 00:15:50,580
I mean, I wrote it at home.
‐ Yeah.
328
00:15:50,581 --> 00:15:54,246
‐ But it was like, "No, got to do this
on that funky little piano."
329
00:15:54,788 --> 00:15:56,328
And songs like that,
330
00:15:56,331 --> 00:15:58,961
um, I like to kind of change
my voice a bit.
331
00:15:59,418 --> 00:16:01,798
So I like to sort of get
a harder voice.
332
00:16:01,799 --> 00:16:04,875
Lady Madonna
333
00:16:04,882 --> 00:16:06,801
- Instead of...
- Lady Madonna
334
00:16:06,802 --> 00:16:08,800
- So you're going...
- Lady Madonna
335
00:16:09,428 --> 00:16:11,218
Children at your feet
336
00:16:11,680 --> 00:16:16,184
Wonder how you manage
to make ends meet
337
00:16:16,185 --> 00:16:18,055
Lady Madonna
338
00:16:18,562 --> 00:16:19,604
Yeah
339
00:16:19,605 --> 00:16:21,105
‐ So the singer would be
the same guy
340
00:16:21,106 --> 00:16:22,896
who's playing that piano part,
makes sense.
341
00:16:22,900 --> 00:16:24,278
‐ Yeah.
‐ It's almost like a character study.
342
00:16:24,279 --> 00:16:25,279
‐ Yeah. Yeah.
343
00:16:25,694 --> 00:16:28,494
I‐I... It's one of the things
I'd like to do, you know.
344
00:16:29,573 --> 00:16:34,076
Instruments tuning on recording
vocalizing on recording
345
00:16:34,077 --> 00:16:35,995
‐ Love that sound
of the tape starting.
346
00:16:35,996 --> 00:16:37,286
‐ Yeah. It's such a good sound.
347
00:16:37,289 --> 00:16:38,869
Three, four.
348
00:16:38,874 --> 00:16:43,174
Paul McCartney & Wings'
Band On The Run playing
349
00:16:46,965 --> 00:16:48,965
I sit and watch all the children.
350
00:16:49,760 --> 00:16:51,050
‐ Yeah.
‐ Walking by...
351
00:16:52,971 --> 00:16:54,521
They seem to say to me...
352
00:16:54,932 --> 00:16:57,232
I couldn't tell what she was thinking.
353
00:16:59,144 --> 00:17:00,154
But I knew
354
00:17:01,104 --> 00:17:02,734
it was through.
355
00:17:06,068 --> 00:17:10,908
‐ Yeah, my, my record label,
they've got studios everywhere, you know.
356
00:17:11,240 --> 00:17:13,330
Brazil. China.
357
00:17:13,825 --> 00:17:16,245
And I was into tenor guitar.
358
00:17:19,748 --> 00:17:21,078
Little sort of Africany thing.
359
00:17:21,542 --> 00:17:24,172
So I liked that,
so I just plunked for Lagos.
360
00:17:24,173 --> 00:17:25,379
Let's go there.
361
00:17:26,421 --> 00:17:27,801
Okay, now go, boy.
362
00:17:27,802 --> 00:17:32,088
Stuck inside these four walls
363
00:17:33,762 --> 00:17:35,309
Sent inside forever
364
00:17:35,310 --> 00:17:37,715
‐ Really good vocal. It's a good vocal.
365
00:17:37,724 --> 00:17:39,694
‐ It's a nice, like, gentle little...
366
00:17:39,695 --> 00:17:44,185
‐ Never seeing no one
367
00:17:45,607 --> 00:17:49,647
Nice again
368
00:17:50,696 --> 00:17:53,656
Like you
369
00:17:54,408 --> 00:17:58,995
Mama, you
370
00:17:58,996 --> 00:18:00,616
‐ I'm drumming on this too.
371
00:18:01,832 --> 00:18:03,379
Couple of members of my band
372
00:18:03,380 --> 00:18:05,535
rang me up the night
before we were due to leave.
373
00:18:05,544 --> 00:18:06,844
They said, "We're not coming."
374
00:18:07,462 --> 00:18:08,712
For an hour or so, it was like,
375
00:18:08,714 --> 00:18:10,761
"Oh, what a bummer.
I don't believe it,"
376
00:18:10,762 --> 00:18:12,297
you know, "God," you know.
377
00:18:12,301 --> 00:18:16,637
And then a sort of
optimistic spirit came back,
378
00:18:16,638 --> 00:18:18,057
and I sort of thought,
379
00:18:18,058 --> 00:18:20,176
"You know what?
We're going to make a record."
380
00:18:24,646 --> 00:18:25,646
‐ Yeah.
381
00:18:27,608 --> 00:18:28,608
There was a little period
382
00:18:28,609 --> 00:18:32,319
when certain people
started writing, like, "rock opera."
383
00:18:32,321 --> 00:18:32,861
‐ Yeah.
384
00:18:32,863 --> 00:18:36,073
‐ It was kind of nice.
It was, like, different.
385
00:18:36,867 --> 00:18:38,287
So I thought I could have a go at it.
386
00:18:38,288 --> 00:18:44,115
Band On the Run continues
387
00:18:48,045 --> 00:18:50,254
‐ Is that a Moog?
‐ Yeah.
388
00:18:50,255 --> 00:18:52,755
‐ If I ever get out of here
389
00:18:53,175 --> 00:18:55,715
Thought of giving it all away
390
00:18:56,094 --> 00:18:58,644
To a registered charity
391
00:18:59,014 --> 00:19:01,182
All I need is a pint a day
392
00:19:01,183 --> 00:19:03,643
If I ever get outta here
393
00:19:04,144 --> 00:19:06,812
If we ever get outta here
394
00:19:14,947 --> 00:19:19,534
Music crescendos
395
00:19:19,535 --> 00:19:21,945
‐ Yeah, again,
unexpected twists and turns.
396
00:19:21,954 --> 00:19:23,544
‐ Yeah. Yeah.
‐ Cinematic.
397
00:19:23,545 --> 00:19:27,329
‐ Well, the rain exploded
with a mighty crash
398
00:19:27,334 --> 00:19:30,004
As we fell into the sun
399
00:19:31,129 --> 00:19:35,216
And the first one said
to the second one there
400
00:19:35,217 --> 00:19:38,637
"I hope you're having fun"
401
00:19:39,096 --> 00:19:41,516
Band on the run
402
00:19:42,891 --> 00:19:45,434
Band on the run
403
00:19:45,435 --> 00:19:50,145
So we went to Lagos where the studio
was just being kind of finished,
404
00:19:50,148 --> 00:19:51,607
but it was good.
405
00:19:51,608 --> 00:19:57,278
And I had with me the tapes
of all the songs for the album.
406
00:19:57,281 --> 00:19:57,951
‐ Mm‐hmm.
407
00:19:57,952 --> 00:20:01,028
‐ However, we were warned,
whatever you do,
408
00:20:01,034 --> 00:20:04,004
don't go out late
in certain areas.
409
00:20:04,454 --> 00:20:07,373
And, so of course,
we go to a friend's house,
410
00:20:07,374 --> 00:20:08,834
and we go out late at night.
411
00:20:09,459 --> 00:20:12,299
Hippies. We just
did not listen to anyone.
412
00:20:12,838 --> 00:20:14,048
So a car pulls up.
413
00:20:14,631 --> 00:20:16,181
The guy gets out of the car,
414
00:20:17,217 --> 00:20:20,427
and, and I go
into Liverpool mode.
415
00:20:20,429 --> 00:20:23,429
I go, "Oh, that is so nice of you."
416
00:20:24,141 --> 00:20:26,231
"You're going to give us a lift.
No, get back in your car."
417
00:20:26,232 --> 00:20:28,306
So I bundle him back in the car.
‐ Yeah.
418
00:20:28,312 --> 00:20:31,062
Five of them jumped out the car,
one of them had a knife.
419
00:20:31,982 --> 00:20:34,317
Linda's, aah! Screaming at them.
420
00:20:34,318 --> 00:20:38,157
So they took all our stuff,
including my demos for Band On The Run.
421
00:20:38,158 --> 00:20:40,775
That was the only thing
I was really pissed about.
422
00:20:40,782 --> 00:20:41,532
‐ Yeah.
423
00:20:41,533 --> 00:20:45,293
‐ And so now we had to make
the album with just three of us,
424
00:20:45,294 --> 00:20:48,706
me, Linda, and Denny,
without the demo recordings.
425
00:20:48,707 --> 00:20:49,787
‐ Yes.
426
00:20:49,791 --> 00:20:52,001
‐ And so, again, we just thought,
427
00:20:52,002 --> 00:20:54,629
"Right, let's do this."
428
00:20:54,630 --> 00:20:57,340
And we just became determined
429
00:20:57,341 --> 00:21:01,469
to, to make it a... a good record.
430
00:21:01,470 --> 00:21:04,010
‐ Yeah, the band on the run
431
00:21:05,265 --> 00:21:07,675
Band on the run
432
00:21:09,520 --> 00:21:13,520
‐ Do you feel like by going there,
it impacted the album?
433
00:21:13,524 --> 00:21:15,194
‐ I was kind of half wondering
434
00:21:15,195 --> 00:21:18,986
whether we'd pick up
a lot of African vibes
435
00:21:18,987 --> 00:21:20,905
and maybe musicians,
436
00:21:20,906 --> 00:21:22,446
bit Graceland thing, you know.
‐ Yeah.
437
00:21:22,449 --> 00:21:24,575
‐ Um, but we didn't.
438
00:21:24,576 --> 00:21:28,036
The only thing happened was
I went to see Fela Kuti.
439
00:21:28,580 --> 00:21:30,870
Singing ITT
440
00:21:30,874 --> 00:21:31,794
‐ Long time ago
441
00:21:31,795 --> 00:21:34,130
‐ Na for them culture
to carry shit
442
00:21:34,131 --> 00:21:35,457
‐ Long time ago
443
00:21:35,462 --> 00:21:37,632
‐ During the time
them come colonize us
444
00:21:37,633 --> 00:21:38,965
‐ Long time ago
445
00:21:38,966 --> 00:21:41,175
‐ Them come teach us
to carry shit
446
00:21:41,176 --> 00:21:42,466
‐ Long time ago
447
00:21:42,469 --> 00:21:44,599
‐ Long, long, long, long time ago
448
00:21:44,600 --> 00:21:46,055
‐ Long time ago
449
00:21:54,314 --> 00:21:56,154
This was at the Afrika Shrine,
450
00:21:56,859 --> 00:21:59,529
- which was his club outside Lagos.
- Yeah.
451
00:22:00,404 --> 00:22:03,865
‐ You're sitting right by him.
Front row seats.
452
00:22:03,866 --> 00:22:04,986
‐ Yeah.
453
00:22:04,992 --> 00:22:07,076
What was the energy
in the room like?
454
00:22:07,077 --> 00:22:08,447
‐ The energy was great.
It was all...
455
00:22:08,453 --> 00:22:10,121
‐ Were people dancing or...
‐ Yeah.
456
00:22:10,122 --> 00:22:11,042
‐ Yeah.
‐ Yeah.
457
00:22:11,043 --> 00:22:14,789
When he came on
and his band kicked in, whoa.
458
00:22:14,793 --> 00:22:16,794
I still remember the riff.
459
00:22:16,795 --> 00:22:19,964
Playing ITT on piano
460
00:22:30,517 --> 00:22:31,517
‐ So cool.
461
00:22:32,102 --> 00:22:33,402
‐ And his whole band kicked in.
462
00:22:39,693 --> 00:22:41,493
So there was Fela at the front
463
00:22:41,494 --> 00:22:43,526
with a little piano.
464
00:22:44,281 --> 00:22:48,121
And the middle, at the back,
he's got two conga players.
465
00:22:48,577 --> 00:22:50,407
- They're like the rhythm box.
- Yeah.
466
00:22:50,412 --> 00:22:53,414
They're just going...
467
00:22:53,415 --> 00:22:54,735
They're keeping that same rhythm.
468
00:22:55,334 --> 00:22:58,211
This side and that side, like stereo,
469
00:22:58,212 --> 00:23:01,302
and he's got the shakers...
470
00:23:02,883 --> 00:23:04,893
And the drummer, he would go...
471
00:23:08,514 --> 00:23:09,639
Fills.
472
00:23:09,640 --> 00:23:11,310
‐ Kind of fills.
‐ Yeah. Yeah.
473
00:23:11,311 --> 00:23:12,428
Two guitars.
474
00:23:12,434 --> 00:23:14,103
One's the tenor guitar,
475
00:23:14,104 --> 00:23:16,362
and the other one's
a little bit more lead guitar.
476
00:23:16,813 --> 00:23:18,013
Then he's got his sax section.
477
00:23:23,529 --> 00:23:27,529
The music was so incredible that I wept,
478
00:23:28,784 --> 00:23:30,794
just when it hit on the groove.
479
00:23:38,836 --> 00:23:42,546
That was one of the greatest
music moments in my life.
480
00:23:42,548 --> 00:23:45,218
‐ Yeah. Yeah. It sounds incredible.
‐ Hearing that song live.
481
00:23:47,636 --> 00:23:48,796
‐ Beautiful.
482
00:23:48,804 --> 00:23:50,724
I'm going to play something else,
483
00:23:50,725 --> 00:23:52,642
a very different energy.
484
00:23:55,310 --> 00:23:57,440
‐ What you got now?
‐ I've got this one.
485
00:23:59,189 --> 00:24:00,519
It will be fun to hear.
486
00:24:02,150 --> 00:24:04,068
Don't go
487
00:24:04,069 --> 00:24:08,489
Jumping waterfalls
488
00:24:09,366 --> 00:24:14,906
Please keep to the lake
489
00:24:14,913 --> 00:24:16,623
‐ It's a pretty little song this. Yeah.
490
00:24:17,541 --> 00:24:19,250
He said modestly.
491
00:24:19,251 --> 00:24:22,001
‐ People who jump waterfalls
492
00:24:22,004 --> 00:24:27,974
Sometimes can make mistakes
493
00:24:29,011 --> 00:24:31,261
And I need love
494
00:24:31,263 --> 00:24:34,974
‐ This is also, even though
it's not an electronic song,
495
00:24:34,975 --> 00:24:37,595
this melody is very today.
496
00:24:37,603 --> 00:24:39,653
This is a very modern melody.
‐ You think so?
497
00:24:39,654 --> 00:24:40,936
‐ I know so.
498
00:24:40,939 --> 00:24:43,439
It's like un... It doesn't...
499
00:24:43,442 --> 00:24:45,992
This sounds like
you could hear this now
500
00:24:46,820 --> 00:24:48,410
in an unusual way.
501
00:24:49,364 --> 00:24:52,867
‐ And it wouldn't be the same
502
00:24:52,868 --> 00:24:55,998
If you ever should decide
503
00:24:56,413 --> 00:25:00,333
To go away
504
00:25:05,172 --> 00:25:08,632
‐ It kind of did get lost
on the album,
505
00:25:08,634 --> 00:25:12,386
but sort of deep fans know that one.
‐ Yeah.
506
00:25:12,387 --> 00:25:14,767
Yes.
‐ And often write to me about it.
507
00:25:15,349 --> 00:25:18,684
‐ Yeah, yeah.
‐ I think I slightly regretted
508
00:25:18,685 --> 00:25:21,095
that the strings on it
509
00:25:21,104 --> 00:25:23,731
are just a little weedy,
synth little things.
510
00:25:23,732 --> 00:25:25,612
‐ I think that might be part
what makes it modern, though.
511
00:25:25,613 --> 00:25:27,109
‐ Maybe. Well...
512
00:25:27,110 --> 00:25:28,738
‐ Do you know, it's like...
I don't know. It's the‐
513
00:25:28,739 --> 00:25:30,655
‐ Hey, you know,
the thing is I can have regrets.
514
00:25:30,656 --> 00:25:31,696
They don't have to be right.
515
00:25:31,698 --> 00:25:33,368
Do you know what I'm saying?
516
00:25:33,369 --> 00:25:35,617
I think all of us, we go,
"Oh, we should've done that."
517
00:25:35,619 --> 00:25:37,099
‐ Yeah.
‐ Somebody else will say, "No.
518
00:25:37,829 --> 00:25:39,958
You don't need to. That‐that's fine."
So...
519
00:25:39,959 --> 00:25:42,917
‐ But I don't see you as someone,
as having a lot of regrets,
520
00:25:42,918 --> 00:25:44,338
looking back on music that you made.
521
00:25:44,339 --> 00:25:45,456
‐ Not really. No.
522
00:25:46,505 --> 00:25:47,875
Forge ahead.
523
00:25:47,881 --> 00:25:49,091
‐ Yeah.
‐ Constantly.
524
00:25:49,424 --> 00:25:50,434
And, um,
525
00:25:51,426 --> 00:25:52,636
well, that's what I love.
526
00:25:53,428 --> 00:25:55,098
That's what I love about it.
‐ Yeah.
527
00:25:55,099 --> 00:25:56,967
‐ Music. Life.
528
00:25:57,724 --> 00:26:01,185
That there's, there's always
that next little song...
529
00:26:01,186 --> 00:26:02,016
‐ Yeah.
530
00:26:02,020 --> 00:26:05,190
‐ that you can be
thinking about or writing.
531
00:26:05,566 --> 00:26:07,686
Soft melody
532
00:26:07,693 --> 00:26:09,363
You know, I'm writing
a thing at the moment.
533
00:26:09,364 --> 00:26:12,864
Mid‐tempo music playing
534
00:26:15,450 --> 00:26:16,450
Oh.
535
00:26:18,245 --> 00:26:19,245
That's great.
536
00:26:19,580 --> 00:26:20,580
That's great.
537
00:26:28,839 --> 00:26:30,549
‐ Life can be hard
538
00:26:31,675 --> 00:26:32,795
But then
539
00:26:32,801 --> 00:26:34,681
‐ So good.
‐ That's when we start
540
00:26:35,262 --> 00:26:38,182
To put it together again
541
00:26:39,474 --> 00:26:41,100
She leads me on
542
00:26:41,101 --> 00:26:42,226
‐ Yeah.
543
00:26:42,227 --> 00:26:45,855
‐ And I'm enchanted
by her beauty
544
00:26:49,610 --> 00:26:50,610
‐ Yeah.
545
00:26:52,154 --> 00:26:53,237
Incredible.
546
00:26:53,238 --> 00:26:54,818
‐ Oh good, man. Oh great.
‐ Really good.
547
00:26:54,823 --> 00:26:57,830
‐ I goofed it a bit, but...
‐ No, but it sounds like it...
548
00:26:57,831 --> 00:27:00,076
The beauty of it is,
when I hear it, it sounds like,
549
00:27:00,078 --> 00:27:02,038
"Oh, this is a song
that's always been around."
550
00:27:02,039 --> 00:27:04,039
You know like it... In a good way.
‐ Like "You know this one."
551
00:27:04,041 --> 00:27:05,750
‐ But not in a way that
I've actually heard it before,
552
00:27:05,751 --> 00:27:08,751
but in a, like, "Oh yeah,
this is like one of those songs
553
00:27:08,754 --> 00:27:10,132
that feels like it's in the air."
554
00:27:10,133 --> 00:27:11,550
‐ Yeah.
‐ Do you know what I mean?
555
00:27:11,551 --> 00:27:13,628
‐ That's what I've sort of done
all my life.
556
00:27:13,634 --> 00:27:15,640
That's what I'm still doing.
‐ Yeah. Yeah.
557
00:27:15,641 --> 00:27:19,556
‐ Just trying to discover just
a little thing that sounds nice.
558
00:27:20,224 --> 00:27:22,225
Someone said Mozart once said,
559
00:27:22,226 --> 00:27:24,516
"I write the notes
that like each other."
560
00:27:25,771 --> 00:27:27,190
And I like that.
‐ Yeah.
561
00:27:27,191 --> 00:27:29,229
‐ I like that. Sounds good to me.
‐ Yeah. Yeah.
562
00:27:30,067 --> 00:27:32,947
Playing Blackbird
563
00:27:38,575 --> 00:27:43,115
Blackbird singing
in the dead of night
564
00:27:43,121 --> 00:27:47,081
Take these broken wings
and learn to fly
565
00:27:48,377 --> 00:27:51,507
All your life
566
00:27:52,214 --> 00:27:57,468
You were only waiting
for this moment to arise
567
00:28:02,474 --> 00:28:06,274
Blackbird singing
in the dead of night
568
00:28:07,020 --> 00:28:11,280
Take these sunken eyes
and learn to see
569
00:28:12,234 --> 00:28:15,284
All your life
570
00:28:16,071 --> 00:28:21,075
You were only waiting
for this moment to be free
571
00:28:21,076 --> 00:28:25,866
Blackbird fly
572
00:28:26,248 --> 00:28:30,585
Blackbird fly
573
00:28:30,586 --> 00:28:34,546
Into the light
of the dark black night
574
00:28:51,315 --> 00:28:52,315
Yeah, right, I know.
575
00:28:56,904 --> 00:28:58,324
Okay, man, great.
576
00:29:02,910 --> 00:29:04,660
Night
577
00:29:04,661 --> 00:29:09,331
Blackbird resumes
578
00:29:18,675 --> 00:29:23,215
Blackbird fly
579
00:29:23,722 --> 00:29:27,975
Blackbird fly
580
00:29:27,976 --> 00:29:31,854
Into the light
of the dark black night
581
00:29:35,776 --> 00:29:40,446
Blackbird singing
in the dead of night
582
00:29:40,447 --> 00:29:43,867
Take these broken wings
and learn to fly
583
00:29:45,661 --> 00:29:48,831
All your life
584
00:29:49,540 --> 00:29:54,210
You were only waiting
for this moment to arise
585
00:29:54,586 --> 00:30:00,336
You were only waiting
for this moment to arise
42543
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