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Electric guitar playing
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For us,
the worst thing was to be bored.
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We're young, 20‐year‐olds,
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00:00:19,645 --> 00:00:22,015
um, and we've already got
some success.
5
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So we've got
the excitement of youth
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and the sort of speed of youth.
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‐ Yeah.
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‐ And a lot of the engineers
had come up with us.
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‐ Yeah.
10
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‐ So they knew
how stupid we were
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and how cheeky we were
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and how, you know,
ambitious we were
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and it rubbed off.
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‐ Yeah.
15
00:00:40,000 --> 00:00:42,248
‐ You know, saying to them,
"Come on. More of this.
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00:00:42,251 --> 00:00:44,210
More of this.
More of this. More‐‐"
17
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And he'd kind of, you know,
they'd get a little look on their face
18
00:00:46,512 --> 00:00:49,295
like we're all naughty boys
in the studio.
19
00:00:49,299 --> 00:00:51,549
We're going to actually break
a few rules here.
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00:00:51,552 --> 00:00:53,594
‐ Yeah.
‐ And if it worked, we'd go...
21
00:00:53,595 --> 00:00:54,505
‐ Yeah.
‐ "Yes."
22
00:00:54,513 --> 00:00:56,013
Two, three, four.
23
00:00:56,014 --> 00:01:00,142
‐ He's a real nowhere man
24
00:01:00,143 --> 00:01:04,021
Sitting in his nowhere land
25
00:01:04,022 --> 00:01:07,650
Making all his nowhere plans
26
00:01:07,651 --> 00:01:09,611
For nobody
27
00:01:11,989 --> 00:01:15,369
He's as blind as he can be
28
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Just sees what he wants to see
29
00:01:19,705 --> 00:01:24,375
Nowhere man,
can you see me at all?
30
00:01:26,879 --> 00:01:28,589
Remember the song
called Nowhere Man?
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00:01:29,506 --> 00:01:34,385
We wanted like a really cutting
electric guitar sound.
32
00:01:34,386 --> 00:01:37,886
So George did it once
on a very cutting tone.
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00:01:37,890 --> 00:01:41,940
His amp was full treble
and his guitar was...
34
00:01:42,603 --> 00:01:43,403
sounded pretty good.
35
00:01:43,404 --> 00:01:45,475
We thought we wanted
to try and push it,
36
00:01:45,480 --> 00:01:49,358
so the engineers sort of put
full treble on it.
37
00:01:49,359 --> 00:01:52,028
And we said,
"No. Can you do more?"
38
00:01:52,029 --> 00:01:53,449
They said,
"Well, no, that‐‐ that's it."
39
00:01:53,450 --> 00:01:56,866
Said, "Well,
what about if you took that..." ‐ Yeah.
40
00:01:56,867 --> 00:01:59,867
‐ "...and put it over
to this set of EQs.
41
00:01:59,870 --> 00:02:01,538
Couldn't you do‐‐ do it all again?"
42
00:02:01,539 --> 00:02:02,078
‐ Wow.
43
00:02:02,080 --> 00:02:04,665
And they'd go,
"Well, you know."
44
00:02:04,666 --> 00:02:06,996
So we'd have them go
through a few channels.
45
00:02:07,002 --> 00:02:07,792
‐ Wow.
46
00:02:07,794 --> 00:02:10,214
‐ Each time
putting this treble on it.
47
00:02:12,591 --> 00:02:13,881
It's a nice sound, though.
48
00:02:13,884 --> 00:02:16,761
Nowhere Man continues
49
00:02:30,400 --> 00:02:32,030
Where do you think the confidence
50
00:02:32,031 --> 00:02:33,897
to ask for that came from?
51
00:02:33,904 --> 00:02:37,406
‐ I think just gradually with the success
of The Beatles records.
52
00:02:37,407 --> 00:02:38,327
‐ Yeah. Yeah.
53
00:02:38,328 --> 00:02:40,985
‐ We started to have
a bit more freedom
54
00:02:40,994 --> 00:02:42,254
and allow ourselves more freedom,
55
00:02:42,255 --> 00:02:44,956
and George Martin
allowed us more freedom.
56
00:02:45,457 --> 00:02:48,417
So we could then kind of push
the envelope a bit.
57
00:02:48,794 --> 00:02:52,588
Maxwell's Silver Hammer playing
58
00:02:56,093 --> 00:02:58,219
Joan was quizzical
59
00:02:58,220 --> 00:03:02,430
Studied pataphysical science
in the home
60
00:03:03,684 --> 00:03:06,978
Late nights all alone
with a test tube
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00:03:06,979 --> 00:03:08,729
‐ The first thing
that's fascinating about it
62
00:03:08,730 --> 00:03:11,399
is that that sounds
really more like a horn.
63
00:03:11,400 --> 00:03:12,860
‐ Tuba.
‐ Yeah, a tuba.
64
00:03:14,361 --> 00:03:17,196
‐ Yeah, I think I was trying
to get that effect just playing‐‐
65
00:03:17,197 --> 00:03:19,277
‐ How do you do that?
‐ Well, you play it very short.
66
00:03:20,617 --> 00:03:22,617
You don't let the bass ring on,
67
00:03:24,288 --> 00:03:25,788
which a tuba‐‐ ‐ Yeah.
68
00:03:27,457 --> 00:03:30,037
It really sounds like that.
I mean, it's remarkable.
69
00:03:30,043 --> 00:03:32,962
‐ Well, I think, you know, the character
of the song is kind of‐‐
70
00:03:32,963 --> 00:03:34,839
‐ Yeah.
‐ A parody.
71
00:03:34,840 --> 00:03:36,215
‐ Yeah.
‐ You know?
72
00:03:36,216 --> 00:03:37,675
‐ So let's see what we have here.
73
00:03:37,676 --> 00:03:42,136
Synth playing
74
00:03:42,139 --> 00:03:44,179
What... what instrument was that?
75
00:03:44,183 --> 00:03:45,308
‐ That's Moog.
76
00:03:45,309 --> 00:03:47,139
‐ Really?
‐ And that was‐‐
77
00:03:47,561 --> 00:03:49,101
Robert Moog was there.
78
00:03:49,855 --> 00:03:53,274
One of the great things
about working at Abbey Road was,
79
00:03:53,275 --> 00:03:56,645
uh, they were at
the forefront of technology.
80
00:03:56,653 --> 00:03:59,572
So, one day we were just told
that there was this guy
81
00:03:59,573 --> 00:04:02,867
called Robert Moog
in one of the upper rooms,
82
00:04:02,868 --> 00:04:04,998
and he'd got a load
of equipment in there.
83
00:04:06,330 --> 00:04:08,959
All these instrumental sounds
were made electronicall y
84
00:04:08,960 --> 00:04:10,827
on a single musical instrument.
85
00:04:10,834 --> 00:04:12,924
It's called
the Moog synthesizer.
86
00:04:13,337 --> 00:04:15,256
It produces sounds
in a matter of minutes,
87
00:04:15,257 --> 00:04:17,335
which would normally take
radio phonic experts,
88
00:04:17,341 --> 00:04:19,841
with their complicated equipment,
days of work
89
00:04:19,843 --> 00:04:22,103
and multiple re‐recording to achieve.
90
00:04:27,100 --> 00:04:28,768
‐ This was the whole wall.
‐ Wow.
91
00:04:28,769 --> 00:04:30,349
‐ It's like an ancient computer,
you know.
92
00:04:30,354 --> 00:04:33,105
It was the whole wall
filled with stuff,
93
00:04:33,106 --> 00:04:35,525
and he was just showing us
all the various filters and that.
94
00:04:35,526 --> 00:04:37,526
So I was just messing around
and I thought,
95
00:04:37,528 --> 00:04:39,447
"I've got to use that
on something."
96
00:04:39,448 --> 00:04:41,566
So I thought, "Well, this is okay.
You could use it,"
97
00:04:41,573 --> 00:04:43,699
because it's, it's kinda,
it's quite tongue in cheek.
98
00:04:43,700 --> 00:04:44,660
‐ Yeah.
‐ So‐‐
99
00:04:44,661 --> 00:04:47,250
‐ It's also interesting
'cause it's such a, uh,
100
00:04:47,251 --> 00:04:49,996
I'll say, traditional style song...
101
00:04:49,998 --> 00:04:51,038
‐ Yeah.
102
00:04:51,041 --> 00:04:53,960
‐ ...rooted in the past,
yet it's a really modern instrument.
103
00:04:53,961 --> 00:04:55,670
‐ We did a bit of that.
‐ Yeah.
104
00:04:55,671 --> 00:04:58,591
‐ You do one style
and then juxtapose it with another,
105
00:04:58,592 --> 00:05:02,300
and the sum of the parts
was okay.
106
00:05:02,302 --> 00:05:03,302
‐ Yeah, new.
107
00:05:03,679 --> 00:05:05,009
Maxwell's Silver Hammer continues
108
00:05:05,013 --> 00:05:09,392
‐ Bang! Bang!
Maxwell's silver hammer came down
109
00:05:09,393 --> 00:05:12,144
Upon her head
‐ Do, doo, doo, doo
110
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‐ Bang! Bang!
111
00:05:13,272 --> 00:05:15,272
‐ Anvil?
‐ Bang, bang.
112
00:05:15,274 --> 00:05:18,442
That was our roadie, Mal. Yeah.
113
00:05:18,443 --> 00:05:21,195
We had a‐‐ We wanted
the sound of an anvil.
114
00:05:21,196 --> 00:05:22,026
‐ Yeah.
115
00:05:22,030 --> 00:05:23,950
‐ So, you know,
now you sort of dial it up.
116
00:05:27,452 --> 00:05:29,042
But then you had
to get an anvil.
117
00:05:29,746 --> 00:05:33,124
So we got this bloody great
blacksmith's anvil,
118
00:05:33,125 --> 00:05:34,625
and he hit it with a hammer.
119
00:05:34,626 --> 00:05:35,956
‐ Hard to get it in there?
120
00:05:35,961 --> 00:05:36,921
‐ Yeah.
121
00:05:36,922 --> 00:05:38,629
‐ They're heavy.
‐ He was a big boy.
122
00:05:38,630 --> 00:05:40,130
‐ They're really heavy.
‐ He was a big boy.
123
00:05:40,132 --> 00:05:41,052
‐ Yeah.
124
00:05:41,053 --> 00:05:43,426
So I think you played a lot
of the instruments on this one.
125
00:05:43,427 --> 00:05:45,257
‐ Yeah. I was wondering
about the piano though,
126
00:05:45,262 --> 00:05:48,932
'cause there's these arpeggios,
it's a bit flash for me.
127
00:05:51,435 --> 00:05:53,435
Makes me think that was George Martin.
‐ Ah.
128
00:05:53,437 --> 00:05:56,814
‐ Because, you know, I can play piano,
but I'm not that good.
129
00:05:56,815 --> 00:05:58,645
‐ George‐‐
‐ Would he sit in and play sometimes?
130
00:05:58,650 --> 00:06:01,490
Yeah, if we wanted anything
that was a little bit difficult.
131
00:06:02,571 --> 00:06:04,488
George Martin
was like our teacher,
132
00:06:04,489 --> 00:06:05,489
just because of the age.
133
00:06:05,490 --> 00:06:07,660
He was a little bit older.
It wasn't much.
134
00:06:07,661 --> 00:06:10,119
I mean, I think we always thought
of him as an old man.
135
00:06:10,120 --> 00:06:13,580
I think he was like probably 30
when he started with us
136
00:06:14,082 --> 00:06:16,589
which I certainly
don't think of as old now.
137
00:06:16,590 --> 00:06:18,705
But it was a great team thing,
you know.
138
00:06:18,712 --> 00:06:20,381
We were going in the studio,
139
00:06:20,382 --> 00:06:22,130
George Martin
might not even know
140
00:06:22,132 --> 00:06:23,591
what we were going
to come up with.
141
00:06:23,592 --> 00:06:25,472
‐ Yeah.
‐ We'd come up with it.
142
00:06:25,473 --> 00:06:27,599
And then by knocking it around,
143
00:06:28,514 --> 00:06:29,974
we'd have a Beatle record,
144
00:06:29,975 --> 00:06:32,943
rather than just this little song
that we'd come in with.
145
00:06:34,686 --> 00:06:37,896
You know, you'd write it just as
the keyboard and the vocal.
146
00:06:37,898 --> 00:06:39,688
That's, that's me writing...
‐ Yeah.
147
00:06:42,361 --> 00:06:44,611
Maxwell's Silver Hammer playing
148
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‐ Pretty much like this.
149
00:06:45,284 --> 00:06:47,280
‐ See that's how
I would write it. Yeah.
150
00:06:47,282 --> 00:06:49,242
‐ Upon her head
‐ Do doo doo do doo
151
00:06:49,243 --> 00:06:51,290
‐ And then you get in the studio
and you make up
152
00:06:51,291 --> 00:06:53,955
all the little vocal things,
all the guitar lines.
153
00:06:53,956 --> 00:06:56,786
Or because Mr. Moog was upstairs...
‐ Yeah.
154
00:06:56,792 --> 00:06:59,042
‐ ...you'd grab his Moog.
‐ Yeah.
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00:06:59,044 --> 00:07:03,089
Synth music playing
156
00:07:03,090 --> 00:07:04,680
‐ Gets a bit funky.
‐ Yeah.
157
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Guitar in this one too.
158
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‐ A little bit of glide.
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‐ Bit of acoustic.
‐ This, yeah.
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Piano music playing
161
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That's not me.
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00:07:17,354 --> 00:07:20,274
The way I could do it,
which I don't think this is,
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would be to slow the tape by half,
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'cause the great thing
about four track machines
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is if you take it down,
you take it down by an octave.
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‐ Hm.
167
00:07:32,202 --> 00:07:34,542
‐ So the arpeggio, you know,
it might just be‐‐
168
00:07:34,543 --> 00:07:38,708
plays slow melody
169
00:07:38,709 --> 00:07:39,959
You know?
‐ And then you'd speed it up?
170
00:07:39,960 --> 00:07:41,800
‐ I'd be able to do that,
but then it'd become‐‐
171
00:07:41,801 --> 00:07:43,375
plays quick melody
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00:07:43,380 --> 00:07:45,339
‐ And you'd play it an octave lower
than you want to hear it?
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00:07:45,340 --> 00:07:46,510
‐ And you played an octave lower.
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00:07:46,511 --> 00:07:49,968
That was always
a great experimental thing.
175
00:07:49,970 --> 00:07:51,929
Just with one flick of the wrist.
176
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Boom, boom.
177
00:07:52,764 --> 00:07:55,641
So we used that
quite a lot, that feature.
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00:07:55,642 --> 00:07:58,852
A Hard Day's Night,
there's a great guitar solo.
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00:07:58,854 --> 00:08:00,730
A Hard Day's Night playing
180
00:08:00,731 --> 00:08:02,271
Half speed, straight up.
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00:08:04,443 --> 00:08:05,743
Regular. It's‐‐
182
00:08:07,529 --> 00:08:09,199
It's up the octave.
‐ Wow.
183
00:08:12,159 --> 00:08:13,789
You can hear the effect.
184
00:08:13,790 --> 00:08:15,075
‐ Incredible.
185
00:08:16,830 --> 00:08:19,040
But that would have been
too fast to play.
186
00:08:19,041 --> 00:08:21,841
‐ Yeah. Yeah. I mean,
and get it really accurate.
187
00:08:21,842 --> 00:08:24,795
‐ Everything seems to be right
188
00:08:25,631 --> 00:08:27,757
And also, these were
the great, fun experiments.
189
00:08:27,758 --> 00:08:28,508
‐ Yeah.
190
00:08:28,509 --> 00:08:31,179
‐ You'd sort of say, "Well, ah,
if George is having trouble‐‐"
191
00:08:32,846 --> 00:08:35,426
You go,
"Okay, wait a minute. Let's think."
192
00:08:35,432 --> 00:08:37,642
So George Martin
would probably say,
193
00:08:37,643 --> 00:08:40,063
"Look, if we took it half speed‐‐"
194
00:08:46,610 --> 00:08:48,490
So you can hear that
and then it comes back up
195
00:08:49,154 --> 00:08:50,533
and it's got a ringy,
196
00:08:50,534 --> 00:08:53,081
it's got a slightly
synthetic sound to it.
197
00:08:53,575 --> 00:08:55,075
Sounds like George might've‐‐
‐ It's also cool.
198
00:08:55,077 --> 00:08:58,037
‐ Yeah. That's‐‐ I mean,
well, we loved all of that.
199
00:08:58,038 --> 00:09:01,748
It was like being professors
in a laboratory.
200
00:09:01,750 --> 00:09:04,340
We were just discovering
all these little things.
201
00:09:04,341 --> 00:09:09,215
A Hard Day's Night playing
202
00:09:14,471 --> 00:09:16,347
And the chord at the front‐‐
203
00:09:16,348 --> 00:09:18,808
opening guitar chord
204
00:09:18,809 --> 00:09:21,689
‐ It's been a hard day's night
205
00:09:22,312 --> 00:09:25,322
And I've been working like a dog
206
00:09:25,732 --> 00:09:28,282
It's been a hard day's night
207
00:09:29,820 --> 00:09:32,238
George Martin
was helping on film music.
208
00:09:32,239 --> 00:09:32,779
Yeah.
209
00:09:32,781 --> 00:09:35,119
‐ So because this was
the opening to this film.
210
00:09:35,120 --> 00:09:36,987
‐ Yeah.
‐ The Beatles' first film,
211
00:09:36,994 --> 00:09:38,953
bang, we'd do the chord,
212
00:09:38,954 --> 00:09:40,214
but he augmented it.
213
00:09:40,914 --> 00:09:43,174
You can see he's thinking film.
‐ Yeah.
214
00:09:43,175 --> 00:09:44,246
‐ Bang!
215
00:09:47,087 --> 00:09:49,087
George Martin
was very interesting.
216
00:09:49,089 --> 00:09:52,299
He'd been in the Fleet Air Arm,
217
00:09:52,301 --> 00:09:54,510
which was the Navy Air Force.
218
00:09:54,511 --> 00:09:56,511
We said, "What did you do,
fly the plane?"
219
00:09:57,014 --> 00:10:00,234
He said, "No."
"Did you navigate?" "No."
220
00:10:00,767 --> 00:10:03,147
"Were you the tail gunner?" "No."
221
00:10:03,687 --> 00:10:06,187
It turned out,
he was a producer.
222
00:10:07,024 --> 00:10:07,654
‐ Always.
223
00:10:07,655 --> 00:10:08,729
‐ Kind of.
‐ Yeah.
224
00:10:08,734 --> 00:10:11,404
‐ He was putting the package together.
‐ Wow.
225
00:10:11,405 --> 00:10:16,324
‐ And then he talked to us about
sort of quasi‐scientific things.
226
00:10:16,325 --> 00:10:18,405
‐ Yeah.
‐ So he had a little board.
227
00:10:18,410 --> 00:10:20,080
It was an oscillator,
228
00:10:20,081 --> 00:10:23,368
and he could generate
various pitches.
229
00:10:23,373 --> 00:10:24,373
So he'd start‐‐
230
00:10:26,043 --> 00:10:28,173
And then he'd say,
"You hear that?" We'd go, "Yeah."
231
00:10:28,174 --> 00:10:30,087
He'd go...
232
00:10:30,088 --> 00:10:31,368
"You hear that?"
We'd go, "Yeah."
233
00:10:32,257 --> 00:10:33,257
"Yeah."
234
00:10:35,219 --> 00:10:37,219
He said, "Now here,
where I'm going now,
235
00:10:37,221 --> 00:10:38,511
where none of us can hear it..."
236
00:10:38,514 --> 00:10:39,354
‐ Yeah.
‐ He said,
237
00:10:39,355 --> 00:10:40,765
"But dogs can hear this."
238
00:10:40,766 --> 00:10:41,556
‐ Wow.
239
00:10:41,558 --> 00:10:44,268
‐ We were doing Sgt. Pepper
around about that time, so we said,
240
00:10:44,269 --> 00:10:47,309
"Okay, we've got to have
that pitch on the thing,"
241
00:10:47,314 --> 00:10:50,404
'cause we wanted it to come in
and a dog in some room go,
242
00:10:51,235 --> 00:10:53,194
"What's that?"
243
00:10:53,195 --> 00:10:54,904
So we put that. It is there somewhere.
244
00:10:54,905 --> 00:10:55,735
‐ It is?
‐ I can't hear it.
245
00:10:55,739 --> 00:10:57,239
‐ Yeah, yeah, yeah.
We have to do a dog test.
246
00:10:57,241 --> 00:10:59,370
‐ That's why dogs love Sgt. Pepper.
247
00:10:59,371 --> 00:11:01,788
But he'd tell us
these stories and stuff.
248
00:11:01,789 --> 00:11:05,617
So you knew that you could talk
to George about these things.
249
00:11:05,624 --> 00:11:08,751
"George, what if we
played it backwards
250
00:11:08,752 --> 00:11:10,382
and then what if we did that?"
251
00:11:11,171 --> 00:11:13,548
"Well..." and he'd sort of,
he'd go along with it.
252
00:11:13,549 --> 00:11:14,469
‐ Yeah.
253
00:11:14,470 --> 00:11:16,926
‐ 'Cause there were a lot
of other producers on EMI.
254
00:11:16,927 --> 00:11:18,247
I'm sure they would've just said,
255
00:11:19,304 --> 00:11:20,304
"Another time.
256
00:11:20,806 --> 00:11:22,306
Let's get the record done,"
you know.
257
00:11:23,100 --> 00:11:26,560
And, and wouldn't have been interested
in backwards noises
258
00:11:26,562 --> 00:11:27,812
or tape loops.
259
00:11:28,230 --> 00:11:32,230
Warbled music playing
260
00:11:32,234 --> 00:11:36,574
I had an old tape recorder
that you could put‐‐ make a loop.
261
00:11:37,197 --> 00:11:39,237
‐ Instead of the two reels of tape...
‐ Mm‐hmm.
262
00:11:39,241 --> 00:11:42,241
You could make a little loop
that would go round and round and round.
263
00:11:42,703 --> 00:11:45,332
There's a little button
that says super impose.
264
00:11:45,333 --> 00:11:49,040
It keeps recording forever and ever
and ever and ever and ever.
265
00:11:49,042 --> 00:11:50,792
So once you've gone round,
266
00:11:51,753 --> 00:11:54,046
what was there is still there
267
00:11:54,047 --> 00:11:55,757
but it's now going
in the background a bit.
268
00:11:56,633 --> 00:11:58,512
There's always
a random aspect to this
269
00:11:58,513 --> 00:12:00,760
because you don't really have
control of the rhythm.
270
00:12:00,762 --> 00:12:02,762
Yeah. Yeah, absolutely.
271
00:12:02,764 --> 00:12:05,183
It's a bit of an art 'cause
you got to know when to stop.
272
00:12:05,184 --> 00:12:07,234
‐ Yeah.
‐ 'Cause you kind of go‐‐
273
00:12:14,985 --> 00:12:17,904
And, you know, you've got
to sort of stop soon
274
00:12:17,905 --> 00:12:20,865
because otherwise you wiped out
those two original ideas.
275
00:12:20,866 --> 00:12:21,576
‐ Yeah.
276
00:12:21,577 --> 00:12:23,325
‐ But when you set it
against the band‐‐
277
00:12:23,327 --> 00:12:26,157
Tomorrow Never Knows playing
278
00:12:26,163 --> 00:12:27,603
‐ It sounds like it's played.
‐ Yeah.
279
00:12:35,589 --> 00:12:37,589
That love is all
280
00:12:37,591 --> 00:12:41,219
And love is everyone
281
00:12:41,220 --> 00:12:42,595
‐ One chord.
282
00:12:42,596 --> 00:12:46,015
It is believing
283
00:12:46,016 --> 00:12:48,226
‐ And then we put
that other chord in there.
284
00:12:50,062 --> 00:12:52,562
‐ But, but the drone chord
is still going.
285
00:12:52,564 --> 00:12:53,114
‐ Yeah.
286
00:12:53,115 --> 00:12:56,776
‐ ...color of your dreams
287
00:13:00,072 --> 00:13:01,739
‐ Cool drum there.
288
00:13:01,740 --> 00:13:05,240
‐ It is not living
289
00:13:05,244 --> 00:13:07,623
‐ You know, I think we have
an alternate version here.
290
00:13:07,624 --> 00:13:09,330
Let's just hear
what was different.
291
00:13:16,213 --> 00:13:18,133
‐ Now that's alternative.
292
00:13:18,715 --> 00:13:19,715
That's cool.
293
00:13:21,718 --> 00:13:23,258
‐ Different beat.
‐ Yeah.
294
00:13:24,847 --> 00:13:27,097
Still pretty slow, if you ask me.
295
00:13:27,099 --> 00:13:29,267
‐ Turn off your mind
296
00:13:29,268 --> 00:13:33,358
Relax and float down‐stream
297
00:13:34,398 --> 00:13:37,066
It is not dying
298
00:13:37,067 --> 00:13:40,147
‐ So that might've been on the way
to finding the sound?
299
00:13:40,153 --> 00:13:42,032
‐ I think it must've been. Yeah.
300
00:13:42,033 --> 00:13:43,780
‐ And would that happen
relatively quickly?
301
00:13:43,782 --> 00:13:45,579
Like, you'd have played it
this first way‐‐
302
00:13:45,580 --> 00:13:47,236
‐ Yeah, I think so.
You know, um,
303
00:13:47,244 --> 00:13:49,412
as time went on,
we had much more freedom.
304
00:13:49,413 --> 00:13:50,873
We had much longer to do things.
305
00:13:51,415 --> 00:13:55,705
But it actually spurred us on
to do some new stuff.
306
00:13:55,711 --> 00:13:56,341
‐ Yeah. Yeah.
307
00:13:56,342 --> 00:13:59,916
‐ So, I mean, the drum sound
on this is, I love it.
308
00:13:59,923 --> 00:14:02,758
‐ Yes.
‐ It's a really great Ringo sound.
309
00:14:02,759 --> 00:14:07,849
‐ That ignorance and haste
may mourn the dead
310
00:14:09,725 --> 00:14:12,975
It is believing
311
00:14:13,645 --> 00:14:16,765
It is believing
312
00:14:19,359 --> 00:14:21,859
Ringo's a very funny guy.
313
00:14:21,862 --> 00:14:23,492
And he used to say these,
314
00:14:24,031 --> 00:14:26,240
I don't know if
it's malapropisms or whatever,
315
00:14:26,241 --> 00:14:29,535
but he had an aptitude
for just saying something
316
00:14:29,536 --> 00:14:32,616
a little bit wrong, you know,
but it sounded right.
317
00:14:32,998 --> 00:14:35,458
Me and John would go,
"What'd he say?"
318
00:14:35,459 --> 00:14:37,749
"Yeah, he said
hard day's night."
319
00:14:37,753 --> 00:14:39,923
"I don't believe it.
That's great."
320
00:14:40,380 --> 00:14:44,258
He wanted to order
sliced bread for toast somewhere
321
00:14:44,259 --> 00:14:46,259
so he said,
"Can I have some slight bread?"
322
00:14:46,929 --> 00:14:49,308
We never used that one,
but it was still good.
323
00:14:49,309 --> 00:14:50,886
It was a Ringo‐ism, you know.
324
00:14:51,308 --> 00:14:53,098
"Well, I don't know. What are we
going to do about this?"
325
00:14:53,101 --> 00:14:55,691
He said, "Well, I don't know.
Tomorrow never knows."
326
00:14:56,730 --> 00:14:58,230
That was one of his.
‐ Yeah.
327
00:14:58,232 --> 00:15:00,482
‐ I mean, now, you know,
you say a hard day's night
328
00:15:00,484 --> 00:15:02,654
and people sort of,
"Oh yeah, I get it."
329
00:15:02,655 --> 00:15:03,945
It sounds like‐‐
330
00:15:03,946 --> 00:15:05,236
‐ Because it's in the culture now.
331
00:15:05,239 --> 00:15:06,948
But when you first heard it,
it was like,
332
00:15:06,949 --> 00:15:08,949
"Oh, that's a odd, funny expression."
‐ Yeah.
333
00:15:09,284 --> 00:15:12,245
Also, the name Beatles
is in the culture now.
334
00:15:12,246 --> 00:15:15,416
So if you say Beatles, nobody goes,
"Ooh, creepy crawly!"
335
00:15:15,417 --> 00:15:18,084
But when we started, everyone did.
‐ Yeah.
336
00:15:18,085 --> 00:15:19,955
What do you remember
when you first met Ringo?
337
00:15:19,962 --> 00:15:23,506
‐ We first met Ringo by seeing him
playing in Hamburg.
338
00:15:23,507 --> 00:15:24,337
Yeah.
339
00:15:24,341 --> 00:15:27,426
He was kind of suave.
He was more grownup.
340
00:15:27,427 --> 00:15:29,047
‐ Yeah.
‐ I mean, he always was
341
00:15:29,054 --> 00:15:30,654
the oldest in The Beatles, and still is.
342
00:15:31,515 --> 00:15:34,475
'Cause he'd been working
professionally before we had.
343
00:15:34,810 --> 00:15:37,480
We were kind of much more amateur
than Ringo was.
344
00:15:37,481 --> 00:15:39,689
‐ Mm‐hmm.
‐ He had like a big car.
345
00:15:40,274 --> 00:15:42,191
None of us had cars.
346
00:15:42,192 --> 00:15:45,486
And Ringo's great thing,
he's so suave.
347
00:15:45,487 --> 00:15:49,067
He would light, if he was with a girl,
he would light two cigarettes.
348
00:15:50,325 --> 00:15:51,615
‐ Like Humphrey Bogart.
349
00:15:52,578 --> 00:15:54,658
‐ He'd seen it in the films.
‐ Yes.
350
00:15:55,205 --> 00:15:58,415
‐ The drink he had
was bourbon and seven.
351
00:15:59,543 --> 00:16:01,423
We didn't know what that was.
We could get it at the bar,
352
00:16:01,424 --> 00:16:04,210
so we all started
drinking bourbon and seven.
353
00:16:04,214 --> 00:16:07,093
We went back to Liverpool and said,
"Bourbon and seven, please."
354
00:16:07,094 --> 00:16:10,052
They said, "What? What are you
talking about? What's that?"
355
00:16:10,470 --> 00:16:12,870
Because they didn't have bourbon,
and they didn't have seven.
356
00:16:13,056 --> 00:16:15,056
So it became scotch and Coke.
‐ Ah.
357
00:16:15,726 --> 00:16:18,396
There was one thing we were
particularly impressed with,
358
00:16:18,770 --> 00:16:21,770
which was the drum part
to What'd I Say?
359
00:16:21,773 --> 00:16:24,113
The Ray Charles record that I loved.
360
00:16:24,114 --> 00:16:27,609
What'd I Say? Playing
361
00:16:28,030 --> 00:16:29,240
From a high hat.
362
00:16:33,452 --> 00:16:34,542
Yeah!
363
00:16:35,287 --> 00:16:37,407
Not many drummers could do that.
‐ Yeah.
364
00:16:37,414 --> 00:16:39,124
‐ But he could play like that.
‐ Yeah.
365
00:16:39,499 --> 00:16:40,958
‐ So it was like, "Wow!"
366
00:16:50,677 --> 00:16:55,217
Yeah. So we saw him
doing that in Hamburg
367
00:16:55,933 --> 00:16:57,850
with Rory Storm
and The Hurricanes.
368
00:16:57,851 --> 00:16:58,641
‐ Hm.
369
00:16:58,644 --> 00:17:01,562
‐ And it was like,
"Wow, he's really good."
370
00:17:01,563 --> 00:17:03,823
And so we admired him,
and we'd go around
371
00:17:03,824 --> 00:17:07,235
to watch them, um, just to hear him.
372
00:17:07,736 --> 00:17:09,986
So that was it.
We knew him from Hamburg.
373
00:17:10,614 --> 00:17:13,157
And once our then drummer, Pete,
374
00:17:13,158 --> 00:17:16,494
didn't show up
and Ringo sat in for him,
375
00:17:16,495 --> 00:17:19,455
I so clearly remember me,
John, and George
376
00:17:19,456 --> 00:17:20,706
as the front line,
377
00:17:21,124 --> 00:17:23,844
standing in a line in the front
on three mics
378
00:17:24,253 --> 00:17:25,843
and this guy behind us.
379
00:17:26,296 --> 00:17:29,296
And when he kicked in the drums,
380
00:17:29,299 --> 00:17:30,925
it was like, "Oh!"
381
00:17:30,926 --> 00:17:34,926
I Saw Her Standing There playing
382
00:17:48,068 --> 00:17:50,398
Oh, she looked at me
383
00:17:50,404 --> 00:17:52,244
And we were, like, thrilled.
384
00:17:52,245 --> 00:17:54,279
Wow, he just lifted us.
385
00:17:54,741 --> 00:17:55,781
This is different.
386
00:17:56,410 --> 00:17:58,950
I'm, like, looking at the others
just as we were singing it.
387
00:17:58,954 --> 00:18:00,624
It was like, "Wow!"
388
00:18:01,456 --> 00:18:04,126
It was a moment.
It was like a big moment.
389
00:18:04,501 --> 00:18:07,751
"Wow, I hope we can stay
with this guy."
390
00:18:07,754 --> 00:18:08,963
‐ Great.
391
00:18:08,964 --> 00:18:10,804
‐ He'd just brought
the whole band together.
392
00:18:10,805 --> 00:18:14,969
‐ Since I saw her standing there
393
00:18:14,970 --> 00:18:16,720
Whoa
394
00:18:22,895 --> 00:18:24,515
‐ One of the things I noticed
in listening to the tracks
395
00:18:24,521 --> 00:18:26,401
is that sometimes
the songs will start
396
00:18:26,402 --> 00:18:30,438
as a... a folk song or a ballad.
‐ Yeah.
397
00:18:30,444 --> 00:18:32,820
‐ And then the rhythm section comes in,
398
00:18:32,821 --> 00:18:34,411
and the rhythm section
is thinking something
399
00:18:34,412 --> 00:18:36,156
completely different than that.
‐ Mm.
400
00:18:36,158 --> 00:18:39,198
‐ And it changes the whole picture fast.
‐ Yeah.
401
00:18:40,078 --> 00:18:41,958
Um, yeah. Well,
you say, you know,
402
00:18:41,959 --> 00:18:44,785
you bring a song in,
you kick it around.
403
00:18:44,791 --> 00:18:45,581
‐ Yeah.
404
00:18:45,584 --> 00:18:48,632
‐ Then if someone gets an idea,
"Oh, why don't we do that?"
405
00:18:48,633 --> 00:18:50,799
Or, "How about this on the drums?"
406
00:18:50,800 --> 00:18:53,877
Or Ringo, like,
on a song like Get Back,
407
00:18:53,884 --> 00:18:55,894
we were just kicking it around
as a little jam‐‐
408
00:18:58,847 --> 00:19:00,097
And then he gets on the drums‐‐
409
00:19:01,433 --> 00:19:06,354
Get Back playing
410
00:19:09,525 --> 00:19:10,275
Get back
411
00:19:10,276 --> 00:19:13,315
So he's got this little kind of
almost military thing going.
412
00:19:13,320 --> 00:19:16,405
Well, that really then,
"Oh, great. Different."
413
00:19:16,406 --> 00:19:17,946
‐ Absolutely.
‐ As you know. Instead of just‐‐
414
00:19:17,950 --> 00:19:19,790
Yeah.
415
00:19:21,203 --> 00:19:23,329
‐ Then somebody else needs to fill in.
416
00:19:23,330 --> 00:19:24,250
‐ Yeah.
417
00:19:24,251 --> 00:19:26,788
But he was doing‐‐
418
00:19:28,418 --> 00:19:30,088
Made a world of difference.
419
00:19:30,754 --> 00:19:32,505
A‐one, a‐two, a‐three
420
00:19:32,506 --> 00:19:34,126
For I have got
421
00:19:35,175 --> 00:19:36,885
Another girl
422
00:19:37,886 --> 00:19:39,176
Another girl
423
00:19:39,179 --> 00:19:41,219
She's sweeter than all the girls
424
00:19:41,223 --> 00:19:43,893
And I've met quite a few
425
00:19:44,476 --> 00:19:47,056
Nobody in all the world can
426
00:19:47,062 --> 00:19:49,856
The rhythm track is flawless.
427
00:19:51,358 --> 00:19:52,987
‐ That's pretty straight country.
428
00:19:52,988 --> 00:19:54,315
‐ That swings.
‐ Yeah.
429
00:19:58,740 --> 00:20:01,120
Me and Ringo
kind of always knew‐‐
430
00:20:01,660 --> 00:20:02,740
You know...
‐ It better be good.
431
00:20:02,744 --> 00:20:04,334
‐ If‐‐ Yeah,
if we don't get this right,
432
00:20:04,335 --> 00:20:06,079
this is going to be
on the record.
433
00:20:06,081 --> 00:20:07,081
We've screwed it.
434
00:20:07,833 --> 00:20:09,589
So it was kind of a little bit scary.
435
00:20:09,590 --> 00:20:10,995
You had to get it.
‐ Yeah.
436
00:20:11,003 --> 00:20:13,883
‐ Early days, particularly,
one of our things was
437
00:20:14,381 --> 00:20:16,681
if the producer doesn't notice
a mistake,
438
00:20:17,009 --> 00:20:19,299
it's not a mistake, you know.
439
00:20:19,303 --> 00:20:20,763
Don't, shh, don't say anything.
440
00:20:22,973 --> 00:20:24,063
You know.
441
00:20:25,517 --> 00:20:26,557
That's the rhythm.
442
00:20:27,811 --> 00:20:30,646
‐ I don't wanna say that I've been
443
00:20:30,647 --> 00:20:32,647
Unhappy with you
444
00:20:33,317 --> 00:20:36,107
But as from today,
well, I've seen
445
00:20:36,111 --> 00:20:37,991
Somebody that's new
446
00:20:38,947 --> 00:20:40,656
I ain't no fool
447
00:20:40,657 --> 00:20:43,034
And I don't take what I don't want
448
00:20:43,035 --> 00:20:44,405
For I have got
449
00:20:45,746 --> 00:20:47,496
Another girl
450
00:20:48,540 --> 00:20:50,420
Another girl
451
00:20:51,126 --> 00:20:52,336
‐ We got it.
452
00:20:53,086 --> 00:20:54,166
‐ Finally.
453
00:20:54,171 --> 00:20:57,548
Song ends
454
00:20:57,549 --> 00:20:58,509
‐ Whew.
455
00:20:58,510 --> 00:21:00,178
‐ Who played the guitar on that?
456
00:21:00,179 --> 00:21:01,387
‐ I'm not sure.
‐ Really?
457
00:21:01,388 --> 00:21:04,766
‐ I mean, I'm wanting to say it's me
'cause it's bad enough.
458
00:21:04,767 --> 00:21:07,385
‐ It's a bold choice for you to play that.
‐ Bold mistakes.
459
00:21:07,392 --> 00:21:08,392
‐ That's beautiful.
‐ That's me.
460
00:21:08,393 --> 00:21:10,483
I specialize in bold mistakes.
461
00:21:12,105 --> 00:21:14,395
I mean, that's
the funny thing now
462
00:21:14,399 --> 00:21:16,778
'cause you've got
the opportunity to go back in.
463
00:21:16,779 --> 00:21:18,147
‐ Yeah.
‐ I would've‐‐
464
00:21:18,153 --> 00:21:20,613
Those couple of little licks that I miss,
465
00:21:20,614 --> 00:21:22,034
where you go...
466
00:21:22,824 --> 00:21:24,953
And you can see, I got stuck.
‐ Yeah. Yeah.
467
00:21:24,954 --> 00:21:26,744
‐ You'd go back in and fix that.
468
00:21:26,745 --> 00:21:28,155
‐ Yeah. But maybe
the reasons that this‐‐
469
00:21:28,163 --> 00:21:29,503
‐ But there's kind of an innocence.
470
00:21:29,504 --> 00:21:30,828
Absolutely.
471
00:21:30,832 --> 00:21:31,999
It's real.
472
00:21:32,000 --> 00:21:33,540
‐ It's real, alright.
473
00:21:33,544 --> 00:21:35,884
‐ It adds to the energy
of the track of, like,
474
00:21:35,885 --> 00:21:39,379
"Oh, it's so cookin'
that he can barely even play it."
475
00:21:39,383 --> 00:21:41,639
You know what I mean?
Like, it's, it's running away.
476
00:21:41,640 --> 00:21:43,885
‐ Okay. I'll, I'll go
with that explanation.
477
00:21:43,887 --> 00:21:45,677
Okay.
478
00:21:45,681 --> 00:21:47,521
‐ I wish I had you in school.
479
00:21:49,351 --> 00:21:53,145
"No, he didn't make a mistake.
He was just enthusiastic."
480
00:21:53,146 --> 00:21:54,306
Yeah.
481
00:21:55,315 --> 00:21:56,815
Did you ever hear
any of the other music
482
00:21:56,817 --> 00:21:58,647
that was being made
at Abbey Road at the time?
483
00:21:58,652 --> 00:22:00,072
Like, when your session was over,
484
00:22:00,073 --> 00:22:02,280
would you hop around
and hear different stuff?
485
00:22:02,281 --> 00:22:03,621
‐ Yeah! Yeah, yeah, yeah.
Yeah, we would.
486
00:22:03,622 --> 00:22:06,325
Floyd came in after us.
‐ Yes.
487
00:22:06,326 --> 00:22:10,576
‐ Pink Floyd, and did a lot
of cool experimental stuff.
488
00:22:10,581 --> 00:22:12,498
This was more Wings period,
489
00:22:12,499 --> 00:22:14,709
but they were next door
making Dark Side Of The Moon.
490
00:22:14,710 --> 00:22:16,544
- Wow.
- And that was pretty cool.
491
00:22:16,545 --> 00:22:17,455
‐ Did you get to hear anything?
492
00:22:17,462 --> 00:22:18,841
Did you listen ever?
‐ Yeah.
493
00:22:18,842 --> 00:22:21,089
The engineers were
quite interchangeable.
494
00:22:21,091 --> 00:22:21,841
‐ Yes.
495
00:22:21,842 --> 00:22:25,552
‐ So an engineer that would work
on their stuff would work on ours,
496
00:22:25,554 --> 00:22:27,513
and he'd, he'd play us some,
497
00:22:27,514 --> 00:22:29,849
some, uh, some of
the Dark Side Of The Moon stuff.
498
00:22:29,850 --> 00:22:30,730
‐ Wow.
499
00:22:30,731 --> 00:22:34,476
A guy who ran our record company
500
00:22:34,479 --> 00:22:35,899
came up to me one day, he said,
501
00:22:35,900 --> 00:22:39,568
"Would you have any interest
in doing a Bond theme," you know.
502
00:22:40,027 --> 00:22:41,567
I said, "Oh yeah."
503
00:22:41,570 --> 00:22:43,530
So he said, It's Live and Let Die.
504
00:22:43,947 --> 00:22:45,947
And I think he gave me
a copy of the book.
505
00:22:45,949 --> 00:22:48,578
So I read the Ian Fleming book.
‐ Mmm. Mm‐hmm.
506
00:22:48,579 --> 00:22:50,947
‐ Um, on the Saturday,
I think it was.
507
00:22:50,954 --> 00:22:51,834
‐ Yeah.
508
00:22:51,835 --> 00:22:56,080
‐ And on the Sunday,
day after, I wrote the song.
509
00:22:56,627 --> 00:22:58,497
Went to see George Martin.
‐ Yeah.
510
00:22:58,504 --> 00:23:00,384
‐ Started developing it with George.
511
00:23:00,385 --> 00:23:01,630
So, um‐‐
512
00:23:01,632 --> 00:23:03,090
plays piano notes
513
00:23:03,091 --> 00:23:03,931
How's it go?
514
00:23:03,932 --> 00:23:09,555
Playing Live and Let Die
515
00:23:09,556 --> 00:23:13,886
When you were young
and your heart was an open book
516
00:23:22,319 --> 00:23:24,737
Live and let die
517
00:23:24,738 --> 00:23:28,115
Live and...
518
00:23:28,116 --> 00:23:29,406
Let die
519
00:23:30,035 --> 00:23:31,994
Live and let die
520
00:23:31,995 --> 00:23:35,365
Live and Let Die playing
521
00:23:41,296 --> 00:23:42,416
George Martin.
‐ Ah.
522
00:23:46,009 --> 00:23:47,969
Wow.
‐ This is straight George.
523
00:23:47,970 --> 00:23:49,095
‐ So cool.
524
00:23:49,096 --> 00:23:50,306
‐ Well, it's for a film.
‐ Yeah.
525
00:23:50,307 --> 00:23:53,135
‐ So we could go further.
‐ Yeah. Yeah.
526
00:23:53,851 --> 00:23:54,851
So cool.
527
00:24:06,071 --> 00:24:08,447
What does it matter to you?
528
00:24:08,448 --> 00:24:09,528
‐ Yeah. Completely unexpected.
529
00:24:09,533 --> 00:24:10,533
‐ When you got a job to do
530
00:24:10,534 --> 00:24:12,334
Because it was in the Caribbean.
531
00:24:12,335 --> 00:24:13,744
‐ Yeah. Great.
532
00:24:13,745 --> 00:24:19,585
‐ You got to give
the other fellow hell
533
00:24:19,877 --> 00:24:23,045
Live and Let Die continues
534
00:24:27,259 --> 00:24:29,389
So when you wrote it,
it would be like‐‐
535
00:24:30,554 --> 00:24:35,183
up‐tempo piano music playing
536
00:24:35,184 --> 00:24:37,524
‐ All these little
strange little moments.
537
00:24:38,061 --> 00:24:39,611
I love it.
‐ Beautiful.
538
00:24:43,567 --> 00:24:46,736
Slow piano music playing
539
00:24:46,737 --> 00:24:48,404
‐ This is very film‐ic.
540
00:24:48,405 --> 00:24:50,525
‐ Yeah, and it's‐‐ and it's not an ending.
‐ It almost...
541
00:24:50,532 --> 00:24:52,742
‐ You know, it doesn't tell you
something's over.
542
00:24:52,743 --> 00:24:53,541
‐ No.
543
00:24:53,542 --> 00:24:55,075
‐ It kind of tells you
something's starting.
544
00:24:55,078 --> 00:24:55,828
‐ I should have done‐‐
545
00:24:55,829 --> 00:24:57,619
comic piano music plays
546
00:24:58,457 --> 00:24:59,957
‐ And then it would've been the ending.
‐ That's an ending.
547
00:24:59,958 --> 00:25:01,838
‐ You know, for real.
‐ That would have been the thing.
548
00:25:01,839 --> 00:25:05,295
James Bond comes walking in,
dressed as Charlie Chaplin.
549
00:25:07,841 --> 00:25:11,010
Check My Machine playing
550
00:25:11,011 --> 00:25:13,638
‐ Sticks and stones
may break my bones
551
00:25:13,639 --> 00:25:15,889
But names will never hurt me
552
00:25:16,558 --> 00:25:19,227
‐ Check
553
00:25:19,228 --> 00:25:21,604
My machine
554
00:25:21,605 --> 00:25:22,515
Come on now.
555
00:25:22,523 --> 00:25:24,732
‐ Check check check check check
556
00:25:24,733 --> 00:25:26,863
‐ Ho!
‐ My machine
557
00:25:28,320 --> 00:25:30,280
Check ‐ Whoo!
558
00:25:30,989 --> 00:25:32,319
‐ My machine
559
00:25:33,784 --> 00:25:36,544
Come on, check check
check check check
560
00:25:36,870 --> 00:25:38,750
My machine
561
00:25:51,635 --> 00:25:53,344
‐ It's just a groove.
‐ Yeah.
562
00:25:53,345 --> 00:25:54,555
‐ Because I'm, I'm just‐‐
563
00:25:55,305 --> 00:25:56,175
‐ It's so good.
564
00:25:56,181 --> 00:25:58,351
‐ I'm just enjoying the little groove.
565
00:25:58,352 --> 00:26:01,520
That's what these kind of records
are all about for me.
566
00:26:03,230 --> 00:26:06,274
‐ Check check check check check
567
00:26:06,275 --> 00:26:08,145
My machine
568
00:26:09,611 --> 00:26:11,661
Check
569
00:26:11,989 --> 00:26:13,819
‐ And it's interesting
how certain phrases
570
00:26:13,824 --> 00:26:15,703
you can hear over and over again,
571
00:26:15,704 --> 00:26:17,994
and it's interesting
when there are other phrases,
572
00:26:17,995 --> 00:26:20,285
you hear them three times
and you never want to hear it again.
573
00:26:20,289 --> 00:26:22,119
‐ Yeah. Yeah.
‐ Who knows why? Like...
574
00:26:22,124 --> 00:26:23,124
‐ Yeah.
575
00:26:23,876 --> 00:26:26,166
And also, when you make
this kind of recording,
576
00:26:28,380 --> 00:26:31,590
you're just going to keep going
with the "Check my machine" thing
577
00:26:31,592 --> 00:26:33,182
to see if it kind of gets anywhere.
578
00:26:33,183 --> 00:26:36,427
‐ Yeah.
‐ And so in the end,
579
00:26:36,430 --> 00:26:39,140
the story of you trying
to get somewhere
580
00:26:39,141 --> 00:26:40,850
becomes the vocal.
‐ Yeah. Yeah.
581
00:26:40,851 --> 00:26:43,021
‐ It's just like,
"Oh, I thought I was going
582
00:26:43,022 --> 00:26:44,896
to just select that bit and that bit."
‐ Yes.
583
00:26:44,897 --> 00:26:46,315
‐ But it's kind of,
it's kind of nice.
584
00:26:46,316 --> 00:26:47,265
‐ It, it develops.
585
00:26:47,274 --> 00:26:48,784
‐ Yeah.
‐ Yeah, yeah, yeah.
586
00:26:50,569 --> 00:26:51,899
It's like jazz really.
587
00:26:51,904 --> 00:26:54,074
You know, like repeating a‐‐
‐ Yeah.
588
00:26:54,075 --> 00:26:55,322
Phrase.
589
00:26:55,324 --> 00:26:56,702
‐ Yeah, phrase over and over
590
00:26:56,703 --> 00:26:59,200
and, like, finding new ways
to interpret it.
591
00:27:00,120 --> 00:27:01,410
Really interesting.
592
00:27:09,004 --> 00:27:10,264
Song ends
593
00:27:10,672 --> 00:27:15,676
You Know My Name playing
594
00:27:28,065 --> 00:27:31,065
‐ You know my name
595
00:27:34,404 --> 00:27:36,454
Look up the number
596
00:27:37,741 --> 00:27:40,291
You know my name
597
00:27:42,538 --> 00:27:44,538
Look up the number
598
00:27:45,874 --> 00:27:48,709
You, you know
599
00:27:48,710 --> 00:27:51,295
You know my name
600
00:27:51,296 --> 00:27:53,965
You, you know
601
00:27:53,966 --> 00:27:56,716
You know my name
602
00:28:01,431 --> 00:28:03,731
Good evening and welcome to Slaggers,
603
00:28:04,351 --> 00:28:05,981
featuring Denis O'Bell.
604
00:28:07,437 --> 00:28:09,727
Come on, Ringo, here we go.
605
00:28:09,731 --> 00:28:11,899
Let's hear it for Denis, ha hey.
606
00:28:11,900 --> 00:28:12,900
Good evening.
607
00:28:14,319 --> 00:28:16,529
You know my name
608
00:28:18,156 --> 00:28:21,076
Better look up my number
609
00:28:21,743 --> 00:28:23,786
You know my name
610
00:28:23,787 --> 00:28:26,827
That's right, look up my number
611
00:28:27,499 --> 00:28:29,584
You, you know
612
00:28:29,585 --> 00:28:31,875
You know my name
613
00:28:31,879 --> 00:28:33,754
You, you know
614
00:28:33,755 --> 00:28:35,585
You know my name
615
00:28:36,341 --> 00:28:39,761
You know my name,
ba ba ba ba ba ba ba ba
616
00:28:40,637 --> 00:28:43,514
Look up the number
617
00:28:43,515 --> 00:28:45,765
You know my name, ha
618
00:28:46,351 --> 00:28:48,769
That's right, look up the number
619
00:28:48,770 --> 00:28:51,980
Ooh, you know, you know
620
00:28:51,982 --> 00:28:53,941
You know my name
621
00:28:53,942 --> 00:28:54,942
You know
622
00:28:55,444 --> 00:28:57,403
You know you know my name
623
00:28:57,404 --> 00:28:58,534
Ha ha ha ha
624
00:28:58,947 --> 00:29:00,777
You know my name
625
00:29:00,782 --> 00:29:03,034
Ba ba ba ba bam
626
00:29:03,035 --> 00:29:05,745
Look up the number
627
00:29:05,746 --> 00:29:09,076
You know my name
46531
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