1
00:00:08,967 --> 00:00:13,304
We'd like to carry on now
with a song featuring just Paul,

2
00:00:13,305 --> 00:00:15,345
and it's called Yesterday.

3
00:00:21,063 --> 00:00:22,733
‐ Yesterday

4
00:00:24,274 --> 00:00:28,454
All my troubles seemed
so far away

5
00:00:29,404 --> 00:00:32,824
Now it looks as though
they're here to stay

6
00:00:33,367 --> 00:00:35,447
Oh, I believe

7
00:00:35,911 --> 00:00:38,788
In yesterday

8
00:00:38,789 --> 00:00:40,419
Suddenly

9
00:00:42,084 --> 00:00:45,753
I'm not half the man
I used to be

10
00:00:45,754 --> 00:00:47,014
I dreamed this.

11
00:00:47,589 --> 00:00:50,549
I was in a little top floor flat
at my girlfriend's house.

12
00:00:51,051 --> 00:00:52,801
I, I woke up with this tune.

13
00:00:53,303 --> 00:00:55,638
I thought, "I love this tune.

14
00:00:55,639 --> 00:00:58,015
"Oh, this must be from my dad's era

15
00:00:58,016 --> 00:00:59,386
or just like some old tune."

16
00:00:59,852 --> 00:01:00,892
So I just started‐‐

17
00:01:13,824 --> 00:01:16,294
So I had that, but I couldn't carry
the piano with me.

18
00:01:17,202 --> 00:01:19,912
So, you know, I, I transposed it
onto a guitar.

19
00:01:20,414 --> 00:01:21,964
Said to people‐‐ first of all, John.

20
00:01:21,965 --> 00:01:23,417
‐ Yeah.
‐ Said, "What's this?"

21
00:01:24,126 --> 00:01:26,206
You know?
He said, "I don't know."

22
00:01:26,211 --> 00:01:29,090
I said, "No, this tune,
it must be something.

23
00:01:29,091 --> 00:01:31,299
We‐we've heard it."
He said, "I don't know."

24
00:01:31,300 --> 00:01:33,679
So I took it to George Martin,
our producer,

25
00:01:33,680 --> 00:01:35,757
and George has got
a wider knowledge

26
00:01:35,762 --> 00:01:36,882
of particularly older songs.

27
00:01:37,556 --> 00:01:40,556
So I said, "What's this?"
He said, "I don't know."

28
00:01:41,143 --> 00:01:43,062
I said, "Well, I've called it Yesterday."

29
00:01:43,063 --> 00:01:45,521
He said, "Well, there is
a song called Yesterdays."

30
00:01:45,522 --> 00:01:47,192
I said, "I'm not worried about the title.

31
00:01:47,649 --> 00:01:51,859
It's this melody, you know,
because I, I can't have written it..."

32
00:01:51,862 --> 00:01:52,987
‐ Yeah.

33
00:01:52,988 --> 00:01:57,116
‐ 'Cause I didn't‐‐ there was
no conscious effort involved.

34
00:01:57,117 --> 00:01:59,447
‐ Yeah.
‐ I just woke up and it was there.

35
00:01:59,453 --> 00:02:02,291
So, you know, people later would say
to me, you know,

36
00:02:02,292 --> 00:02:03,748
"Do you believe in magic?"

37
00:02:03,749 --> 00:02:05,039
I said, "Well, I have to."

38
00:02:06,043 --> 00:02:08,669
You know? I mean,
how did that happen?

39
00:02:08,670 --> 00:02:09,800
‐ Yeah.
‐ I'm sleeping.

40
00:02:11,215 --> 00:02:14,295
Going "oh..."

41
00:02:14,301 --> 00:02:16,091
I love this song. I love it.

42
00:02:16,094 --> 00:02:18,596
Wake up. Now the difference is,
I remembered it.

43
00:02:18,597 --> 00:02:19,097
‐ Yes.

44
00:02:19,098 --> 00:02:21,976
‐ I think a lot of people hear
beautiful music in their dreams.

45
00:02:21,977 --> 00:02:23,725
‐ Yes.
‐ But don't necessarily remember it.

46
00:02:23,727 --> 00:02:25,395
‐ I wonder if you didn't have
a piano there,

47
00:02:25,396 --> 00:02:26,765
if you would have been able
to remember it.

48
00:02:26,772 --> 00:02:27,652
‐ Yeah.

49
00:02:27,653 --> 00:02:29,938
‐ You know, waking up,
and luckily, there was a piano.

50
00:02:29,942 --> 00:02:31,692
‐ Yeah, it's true.
It was very lucky, yeah.

51
00:02:31,693 --> 00:02:34,020
But in those days,
you had to remember a lot of things...

52
00:02:34,044 --> 00:02:34,993
You have to! Yeah.

53
00:02:34,994 --> 00:02:38,028
‐ ...because you didn't‐‐ we weren't able
to record things so easily.

54
00:02:38,617 --> 00:02:41,077
‐ You weren't able to record things.
‐ At all.

55
00:02:41,078 --> 00:02:43,129
There was, like,
no phones to do it, obviously.

56
00:02:43,153 --> 00:02:43,828
Yeah.

57
00:02:43,830 --> 00:02:46,880
‐ The only things were these big
Grundig tape recorders

58
00:02:47,543 --> 00:02:48,671
with a green eye on them.

59
00:02:48,672 --> 00:02:50,552
‐ Which you wouldn't always have
in your pocket.

60
00:02:50,879 --> 00:02:52,799
‐ You wouldn't even have in your home.
‐ Really?

61
00:02:52,800 --> 00:02:55,588
‐ Because, yeah, you've got to have
a bit of money to have them.

62
00:02:55,884 --> 00:03:00,179
Why she had to go

63
00:03:00,180 --> 00:03:04,560
I don't know, she wouldn't say

64
00:03:05,727 --> 00:03:07,687
I said

65
00:03:07,688 --> 00:03:11,438
I'd recorded it just
with the guitar and vocal.

66
00:03:12,192 --> 00:03:14,321
And I'd said to the guys
in the band, I said,

67
00:03:14,322 --> 00:03:16,028
"What are you going
to do," you know?

68
00:03:16,029 --> 00:03:18,869
And they all said,
"No, I don't think we need to do anything.

69
00:03:19,491 --> 00:03:21,409
You should just do it on your own."

70
00:03:21,410 --> 00:03:22,869
So it's like the first time, I think,

71
00:03:22,870 --> 00:03:25,079
I'd ever done like a solo thing.

72
00:03:25,080 --> 00:03:26,420
So I just played on guitar.

73
00:03:26,832 --> 00:03:30,382
And George Martin said,
"For safety, let's just do one more,"

74
00:03:30,627 --> 00:03:33,337
and this was the second take
that they used.

75
00:03:33,755 --> 00:03:36,715
And then we're sitting around
listening to it.

76
00:03:37,509 --> 00:03:39,049
‐ I don't know

77
00:03:39,052 --> 00:03:40,052
‐ And I'm thinking...

78
00:03:40,053 --> 00:03:41,721
‐ She wouldn't say

79
00:03:41,722 --> 00:03:43,848
‐ "Yeah." You know, "sounds nice."

80
00:03:43,849 --> 00:03:44,849
Yeah.

81
00:03:44,850 --> 00:03:48,770
‐ And George said, he's got
this idea to put strings on it.

82
00:03:49,188 --> 00:03:51,608
He said, "I think it'd be great
with a string quartet."

83
00:03:52,065 --> 00:03:54,145
I'm going, "No." I mean...

84
00:03:54,151 --> 00:03:56,031
‐ And you guys had never used
strings before this.

85
00:03:56,032 --> 00:03:58,158
‐ No. And plus
we're a rock‐and‐roll band.

86
00:03:58,697 --> 00:04:00,197
You don't use strings.

87
00:04:00,199 --> 00:04:02,658
So George being very smart,
he said, "Well, let's try it."

88
00:04:02,659 --> 00:04:03,369
‐ Yeah.

89
00:04:03,370 --> 00:04:05,408
‐ "And if you hate it,
we can take it off."

90
00:04:06,371 --> 00:04:07,411
So he did try it.

91
00:04:07,414 --> 00:04:11,384
‐ Love was such
an easy game to play

92
00:04:12,336 --> 00:04:16,046
Now I need a place to hide away

93
00:04:16,048 --> 00:04:19,967
Oh, I believe in yesterday

94
00:04:19,968 --> 00:04:22,178
Yeah, so I loved it.
I loved the session.

95
00:04:22,179 --> 00:04:23,969
Right away, like right away.

96
00:04:23,972 --> 00:04:26,932
When you first heard it,
was it jarring or good experience?

97
00:04:26,934 --> 00:04:29,143
‐ No, it was great, you know,
'cause it's just me

98
00:04:29,144 --> 00:04:31,064
with George up in the control room.
‐ Yeah.

99
00:04:31,065 --> 00:04:33,523
‐ And we go down and we sit
and meet the string players,

100
00:04:33,524 --> 00:04:35,114
just a little quartet.
‐ Mm‐hmm.

101
00:04:35,115 --> 00:04:37,648
‐ And I was really excited.
Yeah.

102
00:04:37,653 --> 00:04:38,953
Because we'd never done
anything like this,

103
00:04:38,954 --> 00:04:40,816
and it suddenly made it feel whole.

104
00:04:42,908 --> 00:04:46,577
- George Martin was a huge help in that...
- Yeah.

105
00:04:46,578 --> 00:04:48,538
‐ ...in as much as he could write it,

106
00:04:48,539 --> 00:04:52,875
you know, normally you,
you've got a song

107
00:04:52,876 --> 00:04:54,916
and you have to get
an outside arranger in.

108
00:04:54,920 --> 00:04:55,460
‐ Yeah.

109
00:04:55,462 --> 00:04:58,801
‐ And then he sort of goes off
into a cupboard somewhere,

110
00:04:58,802 --> 00:05:01,089
and you don't quite know
what it's going to be.

111
00:05:01,593 --> 00:05:06,143
But with George, you knew that
we read each other well enough.

112
00:05:06,849 --> 00:05:10,729
The funny thing was
when we were shown notation,

113
00:05:11,562 --> 00:05:13,231
it didn't mean anything to us,

114
00:05:13,232 --> 00:05:15,400
still doesn't really mean anything to me.

115
00:05:15,401 --> 00:05:18,109
Even though I work
with a classical orchestra

116
00:05:18,110 --> 00:05:19,820
and do a huge orchestral piece,

117
00:05:20,279 --> 00:05:24,529
I will have to talk it through
with them rather than say,

118
00:05:24,533 --> 00:05:27,034
"Um, the B flat in bar 14,

119
00:05:27,035 --> 00:05:28,655
that should be a B, not a B flat."

120
00:05:29,079 --> 00:05:32,329
You know? After going,
"No, that note there should be‐‐"

121
00:05:32,875 --> 00:05:35,285
Uh, you know, I know‐‐
‐ Lower or higher.

122
00:05:35,294 --> 00:05:36,634
Yeah. Lower or higher.

123
00:05:36,635 --> 00:05:39,755
But, um, that's how we did it.

124
00:05:39,756 --> 00:05:42,006
And my excuse, there is an excuse,

125
00:05:42,009 --> 00:05:44,049
because coming from Liverpool,

126
00:05:44,052 --> 00:05:47,512
there's a lot of sort of
Irish Celtic influence.

127
00:05:48,056 --> 00:05:50,516
And the Celts never
wrote anything down.

128
00:05:50,517 --> 00:05:52,637
It's the bardic tradition.
‐ Yeah.

129
00:05:52,644 --> 00:05:54,103
‐ So that's our excuse.
‐ Yeah.

130
00:05:54,104 --> 00:05:56,654
‐ Me and John used to say,
"Yeah, it was the bardic tradition."

131
00:05:59,359 --> 00:06:00,939
‐ When you were kids
starting to write songs,

132
00:06:00,944 --> 00:06:02,954
what would you hear
on the radio typically?

133
00:06:02,955 --> 00:06:06,574
‐ In the early days,
there wasn't much on radio.

134
00:06:06,575 --> 00:06:09,195
There was just one
or two cool DJs,

135
00:06:09,203 --> 00:06:11,253
but we were listening to records

136
00:06:11,254 --> 00:06:14,116
and it'd be a lot of RandB,

137
00:06:14,124 --> 00:06:15,833
things like Ray Charles,

138
00:06:15,834 --> 00:06:17,214
and Little Richard,

139
00:06:17,215 --> 00:06:20,880
Chuck Berry, Jerry Lee Lewis,
Isley Brothers,

140
00:06:20,881 --> 00:06:23,216
we'd cover all those.

141
00:06:23,217 --> 00:06:25,177
Ah, Kansas City

142
00:06:25,886 --> 00:06:28,176
Going to get my baby one time

143
00:06:28,597 --> 00:06:29,717
Yeah, yeah

144
00:06:30,224 --> 00:06:32,184
I'm going to Kansas City

145
00:06:32,851 --> 00:06:34,981
Going to get my baby one time

146
00:06:35,604 --> 00:06:36,604
Yeah, yeah

147
00:06:37,231 --> 00:06:39,731
It's just a one, two, three, four

148
00:06:39,733 --> 00:06:41,993
Five, six, seven, eight, nine

149
00:06:42,361 --> 00:06:43,486
Whoa

150
00:06:43,487 --> 00:06:46,067
I thought I was
Ray Charles, in my head.

151
00:06:46,698 --> 00:06:47,948
Were records easy to come by?

152
00:06:47,950 --> 00:06:50,200
Was it a popular thing at the time?

153
00:06:50,536 --> 00:06:52,495
‐ Yeah. I mean, you could go
to a record shop

154
00:06:52,496 --> 00:06:54,616
and you'd go in the booths
and you'd listen.

155
00:06:54,623 --> 00:06:57,124
The main thing was finance.

156
00:06:57,125 --> 00:06:58,875
You didn't have that much money.

157
00:06:58,877 --> 00:07:02,087
So you'd have to save up
to buy an LP

158
00:07:02,089 --> 00:07:04,129
or concert tickets.

159
00:07:04,132 --> 00:07:05,550
‐ Hey, child

160
00:07:05,551 --> 00:07:07,801
‐ I said now, now, huh

161
00:07:07,803 --> 00:07:09,053
‐ Goodbye

162
00:07:09,054 --> 00:07:11,684
‐ Yeah, tell me, baby

163
00:07:12,391 --> 00:07:14,601
What's been wrong with you?

164
00:07:15,310 --> 00:07:16,727
Yeah

165
00:07:16,728 --> 00:07:20,228
We all started, all the bands,
started off doing covers

166
00:07:20,691 --> 00:07:24,441
when we were in Hamburg
and in The Cavern in Liverpool,

167
00:07:24,444 --> 00:07:26,284
it was pretty much all covers.

168
00:07:26,697 --> 00:07:29,317
So I would do Long Tall Sally
by Little Richard.

169
00:07:29,908 --> 00:07:31,828
But so did one of the other groups.

170
00:07:31,829 --> 00:07:33,947
There was a group called
Derry and the Seniors.

171
00:07:33,954 --> 00:07:36,372
And, and Derry, he could do‐‐

172
00:07:36,373 --> 00:07:38,124
Gonna tell Aunt Mary

173
00:07:38,125 --> 00:07:40,245
He could do that,
you know, and so it was like,

174
00:07:40,252 --> 00:07:41,920
"Well, I want to do it better."
‐ Yeah.

175
00:07:41,921 --> 00:07:43,379
‐ Because if you were backstage

176
00:07:43,380 --> 00:07:45,630
and you were going to be on after them...
‐ Yeah.

177
00:07:45,632 --> 00:07:48,301
‐ and you suddenly heard...
Gonna tell Aunt Mary

178
00:07:48,302 --> 00:07:50,302
You'd go, "Ugh," you know,

179
00:07:50,304 --> 00:07:52,060
"Well, I was going to do that."
‐ Yeah.

180
00:07:52,061 --> 00:07:54,635
‐ And you actually
didn't have time to change,

181
00:07:54,641 --> 00:07:56,188
so you would do that.

182
00:07:56,189 --> 00:07:58,305
You'd go on and just hope
your version was better.

183
00:07:59,354 --> 00:08:01,944
I remember we used to do
a three‐four thing,

184
00:08:02,733 --> 00:08:05,323
If you gotta make
a fool of somebody

185
00:08:06,528 --> 00:08:09,318
If you gotta make
a fool of someone

186
00:08:11,241 --> 00:08:13,451
The original version was by James Ray.

187
00:08:14,828 --> 00:08:18,168
If you got to make
a fool of somebody

188
00:08:19,917 --> 00:08:24,587
If you gotta make
a fool of someone

189
00:08:25,839 --> 00:08:27,339
‐ It was a real cool little thing,

190
00:08:27,341 --> 00:08:29,721
and I said, we'd never heard
this beat.

191
00:08:33,680 --> 00:08:35,770
Uh, like a waltz,
a rock‐and‐roll waltz,

192
00:08:36,600 --> 00:08:37,640
so we did this.

193
00:08:37,643 --> 00:08:40,153
And I remember a couple
of the London bands coming up,

194
00:08:40,854 --> 00:08:43,064
"Play If You Gotta Make
a Fool of Somebody."

195
00:08:43,065 --> 00:08:44,815
Because it was‐‐
they'd not heard anything like this.

196
00:08:44,816 --> 00:08:46,356
‐ Yeah. Where would you
have heard it?

197
00:08:46,360 --> 00:08:49,660
‐ On record. George had the album,
James Ray album.

198
00:08:50,280 --> 00:08:52,740
And he took‐‐ he later,
much later, he got,

199
00:08:52,741 --> 00:08:54,951
Got my mind set on you ‐ Yeah.

200
00:08:54,952 --> 00:08:57,542
‐ That was a James Ray, off that album.
‐ Wow! Wow!

201
00:08:57,543 --> 00:08:59,708
‐ So George remembered that.

202
00:09:00,249 --> 00:09:04,959
But we'd have these little
oddball songs that we'd put in

203
00:09:04,962 --> 00:09:07,259
because we were playing so many hours.
‐ Yeah.

204
00:09:07,260 --> 00:09:09,465
‐ We didn't want to get bored.
‐ Yeah.

205
00:09:09,466 --> 00:09:12,546
Just keep it interesting.
‐ We just‐‐ we could not have handled it

206
00:09:12,553 --> 00:09:17,306
if we'd‐‐ every set we played
the same lot of songs.

207
00:09:17,307 --> 00:09:19,307
So we started to think,
"Well, you know what?

208
00:09:19,309 --> 00:09:21,939
If we wrote stuff, they wouldn't know it."

209
00:09:22,771 --> 00:09:25,821
Nobody would be able to access it.
It'd be private to us.

210
00:09:26,316 --> 00:09:28,436
So that's actually what started‐‐
‐ Yeah.

211
00:09:28,443 --> 00:09:30,152
‐ It wasn't a great light bulb went off.

212
00:09:30,153 --> 00:09:31,823
It was sheer necessity

213
00:09:32,281 --> 00:09:34,621
to have something
the other bands couldn't play.

214
00:09:35,534 --> 00:09:38,334
- Quite, quite brisk.
- Moderate Alto Fox Trot.

215
00:09:38,704 --> 00:09:40,580
The red light's on.

216
00:09:40,581 --> 00:09:42,621
Is it? Oh, of course,
I couldn't see.

217
00:09:42,624 --> 00:09:44,375
One, two, three, four!

218
00:09:44,376 --> 00:09:48,376
And Your Bird Can Sing playing

219
00:09:51,550 --> 00:09:54,969
‐ Tell me that you've got
everything you want

220
00:09:54,970 --> 00:09:57,470
And your bird can sing

221
00:09:57,472 --> 00:09:59,312
But you don't get me

222
00:10:01,393 --> 00:10:02,523
You don't get

223
00:10:02,936 --> 00:10:04,604
Me

224
00:10:09,860 --> 00:10:10,860
‐ Wow.

225
00:10:15,407 --> 00:10:16,407
Wow.

226
00:10:20,746 --> 00:10:23,366
‐ When your bird is broken

227
00:10:24,374 --> 00:10:27,004
Will it bring you down?

228
00:10:27,920 --> 00:10:30,420
You may be awoken

229
00:10:30,881 --> 00:10:32,011
I'll be 'round

230
00:10:32,012 --> 00:10:34,217
‐ The two of them are cooking!

231
00:10:34,218 --> 00:10:35,218
Like‐‐ ‐ Yeah.

232
00:10:35,719 --> 00:10:36,719
‐ Cooking.

233
00:10:38,805 --> 00:10:42,845
‐ And your bird can swing
but you can't hear me

234
00:10:43,268 --> 00:10:44,936
‐ Me ‐ Yeah.

235
00:10:44,937 --> 00:10:46,097
‐ You can't hear

236
00:10:46,522 --> 00:10:48,322
Me

237
00:11:05,791 --> 00:11:08,171
‐ And we're listening
with the drums out,

238
00:11:08,172 --> 00:11:11,458
and it's still full‐on cooking.
‐ Yeah.

239
00:11:11,463 --> 00:11:12,713
It's good, innit? Yeah.

240
00:11:13,465 --> 00:11:14,255
‐ Wow.
‐ Well, that's the thing.

241
00:11:14,258 --> 00:11:17,048
You can hear the excitement
of us just making stuff up.

242
00:11:17,052 --> 00:11:19,011
‐ For sure. For sure.
‐ Can't you?

243
00:11:19,012 --> 00:11:21,472
It's just like, "Yeah.
Let's do that." "Oh, okay."

244
00:11:21,932 --> 00:11:23,641
‐ You know?
‐ It, it sounds thrilling.

245
00:11:23,642 --> 00:11:25,892
Like, and I think what it is,

246
00:11:25,894 --> 00:11:29,647
is you guys were excited making it.
‐ Mm, mm.

247
00:11:29,648 --> 00:11:32,398
‐ And we get to feel your excitement.
‐ Yeah.

248
00:11:32,734 --> 00:11:36,946
‐ You can‐‐ It's a human feeling
that's in that performance.

249
00:11:36,947 --> 00:11:37,987
‐ Yeah.

250
00:11:37,990 --> 00:11:41,030
‐ Clearly, these guys are going for it.
‐ Yeah.

251
00:11:41,034 --> 00:11:42,334
Really. Yeah.
‐ And you feel it.

252
00:11:42,335 --> 00:11:44,407
‐ Because it all had
to be done so quickly.

253
00:11:44,413 --> 00:11:47,874
‐ Yeah, it's contagious, you know.
Like, the energy is contagious.

254
00:11:47,875 --> 00:11:48,535
‐ Yeah, yeah, yeah.

255
00:11:48,542 --> 00:11:53,254
And Your Bird Can Sing continues

256
00:11:57,259 --> 00:11:59,927
‐ It has‐‐ To me,
it has a Celtic flavor.

257
00:11:59,928 --> 00:12:01,098
I don't know why that is.

258
00:12:01,099 --> 00:12:03,426
‐ Well, you know, I mean,
we're Liverpool boys,

259
00:12:03,432 --> 00:12:05,732
and they say Liverpool is
the capital of Ireland.

260
00:12:06,268 --> 00:12:09,608
So it's likely that
there's all those influences, you know.

261
00:12:10,439 --> 00:12:14,066
But we would just make up
the solo, in this case,

262
00:12:14,067 --> 00:12:17,737
and just learn the harmony and the solo
and then play the two live.

263
00:12:18,197 --> 00:12:19,425
So...

264
00:12:19,449 --> 00:12:23,157
But technically,
this isn't what you think of as the song.

265
00:12:23,493 --> 00:12:26,954
This was a musical choice
you made in the studio.

266
00:12:26,955 --> 00:12:29,035
‐ Yeah, yeah. Yeah.
‐ The song would have been more‐‐

267
00:12:32,586 --> 00:12:36,464
‐ You tell me that you heard
every sound there is

268
00:12:36,465 --> 00:12:40,545
And your bird can swing
but you can't hear me

269
00:12:41,261 --> 00:12:42,970
‐ Yeah. Really straightforward.

270
00:12:42,971 --> 00:12:44,180
‐ You can't hear

271
00:12:44,181 --> 00:12:46,231
Me

272
00:12:51,355 --> 00:12:54,725
‐ Yeah. This is more traditional
until we get to‐‐

273
00:12:54,733 --> 00:12:56,653
‐ Yeah! The solo, yeah.
‐ Yeah.

274
00:13:07,329 --> 00:13:08,996
Song ends

275
00:13:08,997 --> 00:13:10,417
‐ Yeah.
‐ It's amazing.

276
00:13:10,418 --> 00:13:12,995
Good group.

277
00:13:13,001 --> 00:13:15,799
‐ Was there ever a time
where you guys would sing unison

278
00:13:15,800 --> 00:13:17,046
as opposed to harmony?

279
00:13:17,047 --> 00:13:19,337
‐ Yeah. Always on the early records.

280
00:13:19,341 --> 00:13:22,844
That was the thing because
we'd written the song together.

281
00:13:22,845 --> 00:13:23,635
‐ Yeah.

282
00:13:23,637 --> 00:13:26,097
‐ And we'd sing it together.

283
00:13:26,640 --> 00:13:28,930
Just, just kind of remember it
and just sing it.

284
00:13:29,434 --> 00:13:31,354
And George Martin would say,
"Who's the lead singer?"

285
00:13:31,355 --> 00:13:33,312
We'd say, "Well, me and John."
‐ Yeah.

286
00:13:33,313 --> 00:13:35,314
‐ So it was like
early double tracking.

287
00:13:35,315 --> 00:13:36,015
‐ Yeah, yeah.

288
00:13:36,024 --> 00:13:37,944
‐ And also, it might just have been

289
00:13:37,945 --> 00:13:40,653
that both of us wanted to do the vocal.

290
00:13:40,654 --> 00:13:41,324
‐ Yeah.

291
00:13:41,325 --> 00:13:44,281
‐ So there's only one answer
to that, both do it.

292
00:13:44,283 --> 00:13:46,075
Yeah, yeah, yeah.

293
00:13:46,076 --> 00:13:48,536
Would you sit down
to write a song

294
00:13:48,537 --> 00:13:51,287
or... does it just happen?

295
00:13:51,832 --> 00:13:54,252
‐ With John and I, we'd sit down.
‐ Yeah.

296
00:13:54,710 --> 00:13:57,250
And you would know,
"I'm coming over tomorrow at noon.

297
00:13:57,254 --> 00:13:59,172
We're going to meet
at this time and let's write."

298
00:13:59,173 --> 00:14:00,933
‐ Yeah, yeah.
And we'll just write something.

299
00:14:01,508 --> 00:14:04,298
‐ To lead a better life

300
00:14:05,053 --> 00:14:09,023
I need my love to be here

301
00:14:10,601 --> 00:14:12,351
Here

302
00:14:13,604 --> 00:14:17,694
Making each day of the year

303
00:14:19,443 --> 00:14:24,573
Changing my life
with the wave of her hand

304
00:14:25,240 --> 00:14:28,534
Nobody can deny

305
00:14:28,535 --> 00:14:30,825
That there's something there

306
00:14:30,829 --> 00:14:34,119
‐ I wrote this song while waiting
for John to get up.

307
00:14:34,124 --> 00:14:36,884
I used to go out
to his house to write.

308
00:14:37,669 --> 00:14:39,959
He wasn't always ready,
shall we say.

309
00:14:40,506 --> 00:14:42,376
So I'm just sitting out
with my guitar

310
00:14:42,382 --> 00:14:44,472
and started working on this one.

311
00:14:45,093 --> 00:14:46,472
And then when John had come,

312
00:14:46,473 --> 00:14:49,640
I said, "Look, I've got this."
"Great, let's finish it up."

313
00:14:50,140 --> 00:14:52,180
And so we'd finish it up together.

314
00:14:53,393 --> 00:14:56,062
This was a tune I was always
very pleased with, you know.

315
00:14:56,063 --> 00:14:58,523
People say, "Which is
your favorite tune of yours?"

316
00:14:58,524 --> 00:14:59,074
‐ Yeah.

317
00:14:59,075 --> 00:15:02,686
‐ And I'm kind of tempted to say Yesterday
because it arrived so magically.

318
00:15:03,403 --> 00:15:06,203
But I like this one.
I like Here, There, and Everywhere.

319
00:15:06,204 --> 00:15:08,616
And in fact,
John liked this one.

320
00:15:08,617 --> 00:15:11,536
And John was not one to praise.

321
00:15:11,537 --> 00:15:12,197
‐ Yeah.

322
00:15:12,204 --> 00:15:14,712
‐ Because, you know, we've talked
about him being a little bit shielded.

323
00:15:14,713 --> 00:15:15,366
‐ Yeah.

324
00:15:15,374 --> 00:15:18,844
‐ You know, he just wouldn't praise
anything unless he really liked it.

325
00:15:19,711 --> 00:15:21,551
After we'd made this record,

326
00:15:21,552 --> 00:15:27,134
we were going to film
in Austria for the film Help.

327
00:15:27,135 --> 00:15:28,425
Yes.

328
00:15:28,428 --> 00:15:31,638
And me and John shared a ski chalet,

329
00:15:32,140 --> 00:15:34,980
so we were taking our boots off and stuff
as we were playing the album.

330
00:15:35,561 --> 00:15:37,731
I remember him saying,
"Oh, I like this one."

331
00:15:38,522 --> 00:15:40,439
And you know what?
That was, like, enough.

332
00:15:40,440 --> 00:15:41,020
‐ Yeah.

333
00:15:41,024 --> 00:15:43,744
‐ That was a great praise
coming from John.

334
00:15:43,745 --> 00:15:46,404
‐ ...everywhere

335
00:15:46,405 --> 00:15:48,614
Knowing that love is to share

336
00:15:48,615 --> 00:15:50,445
‐ It's pushing the bass notes too.

337
00:15:50,450 --> 00:15:51,540
‐ Yeah.
‐ And the guitar.

338
00:15:53,412 --> 00:15:54,495
Cool.

339
00:15:54,496 --> 00:15:57,286
‐ That love never dies

340
00:15:57,291 --> 00:15:58,081
‐ Incredible harmony.

341
00:15:58,083 --> 00:16:00,001
Watching her eyes

342
00:16:00,002 --> 00:16:00,752
‐ Incredible.

343
00:16:00,753 --> 00:16:05,512
‐ And hoping I'm always there

344
00:16:06,133 --> 00:16:08,723
I will be there

345
00:16:09,428 --> 00:16:11,928
And everywhere

346
00:16:12,681 --> 00:16:15,266
Here, there

347
00:16:15,267 --> 00:16:19,395
And everywhere

348
00:16:19,396 --> 00:16:23,356
song ends

349
00:16:25,444 --> 00:16:27,241
Did you take turns,
like John would do a song

350
00:16:27,242 --> 00:16:29,277
and then you would do a song
and back and forth,

351
00:16:29,281 --> 00:16:31,490
- that's how it would work?
- Yeah. Often. Yeah.

352
00:16:31,491 --> 00:16:34,491
It would be his song,
my song, his song, my song.

353
00:16:34,494 --> 00:16:35,254
Yeah.

354
00:16:35,255 --> 00:16:38,995
‐ I mean, I say this a lot,
but as a Beatles' fan now,

355
00:16:38,999 --> 00:16:41,079
it is astounding to me

356
00:16:41,084 --> 00:16:43,377
that, I think, all in all,

357
00:16:43,378 --> 00:16:46,378
I think John and I wrote
just short of 300 songs,

358
00:16:46,798 --> 00:16:49,048
and every session, we finished the song.

359
00:16:49,927 --> 00:16:52,677
You'd think that there'd be at least ten

360
00:16:53,180 --> 00:16:54,470
where we just couldn't get it.

361
00:16:55,265 --> 00:16:58,345
But there was something
about the work ethic

362
00:16:58,352 --> 00:17:02,730
or just the‐‐ knowing each other so well,

363
00:17:02,731 --> 00:17:04,819
that we would spur each other on

364
00:17:04,820 --> 00:17:06,896
and we just didn't like to leave it.

365
00:17:06,902 --> 00:17:08,662
"We haven't done it.
We haven't finished it."

366
00:17:09,154 --> 00:17:12,454
So we would, we would go
till we, till we finished stuff,

367
00:17:12,991 --> 00:17:15,409
um... and we did.

368
00:17:15,410 --> 00:17:16,910
We pretty much did.

369
00:17:16,912 --> 00:17:17,912
‐ It's amazing.

370
00:17:17,913 --> 00:17:20,173
‐ It was, it was great.
You know, I say, I look back,

371
00:17:20,958 --> 00:17:24,377
at the time I was just working
with this bloke called John.

372
00:17:24,378 --> 00:17:25,378
‐ Yeah.

373
00:17:25,379 --> 00:17:28,129
‐ Now I look back, and I was working
with John Lennon.

374
00:17:28,674 --> 00:17:34,394
A Day in the Life playing

375
00:17:34,680 --> 00:17:38,808
I knew this was like a, a big song

376
00:17:38,809 --> 00:17:40,938
from the minute John brought it in

377
00:17:40,939 --> 00:17:42,726
and we started working on it.

378
00:17:42,729 --> 00:17:47,729
Music intensifying

379
00:18:04,334 --> 00:18:05,459
Piano music playing

380
00:18:05,460 --> 00:18:06,340
Yeah.

381
00:18:06,341 --> 00:18:09,876
So I mean, that was like,
I'd been, by that time,

382
00:18:09,882 --> 00:18:12,470
this is, this is quite late
in The Beatles.

383
00:18:12,471 --> 00:18:15,927
And I'd been listening to, like,
a lot of avant garde music.

384
00:18:15,929 --> 00:18:17,009
‐ Yeah.
‐ I was in London.

385
00:18:17,014 --> 00:18:18,514
I was hanging out,

386
00:18:18,515 --> 00:18:20,305
and, you know,
we're getting quite artsy

387
00:18:20,309 --> 00:18:22,729
and going to a lot of arts exhibitions.

388
00:18:22,730 --> 00:18:27,064
And I was, you know,
reading about crazy composers,

389
00:18:27,065 --> 00:18:28,475
like John Cage.
‐ Yeah.

390
00:18:28,483 --> 00:18:32,945
‐ The concepts were like,
wow, very freeing.

391
00:18:32,946 --> 00:18:36,326
‐ John Cage and Water Walk.

392
00:18:53,300 --> 00:18:54,888
I don't want to do that,

393
00:18:54,889 --> 00:18:56,885
but I love the idea that he did it.

394
00:18:58,138 --> 00:18:59,718
I said to George Martin,

395
00:18:59,723 --> 00:19:01,643
"George, we need
a symphony orchestra."

396
00:19:02,142 --> 00:19:05,062
And George originally said,
"I don't think‐‐ We don't need that many."

397
00:19:05,646 --> 00:19:09,226
He said, "It's a full symphony, which is
like over 40 people or something."

398
00:19:09,233 --> 00:19:12,323
I said, "Yeah, this song,
we, we, we want it."

399
00:19:12,778 --> 00:19:18,028
So then the original thing
that I put down was,

400
00:19:18,033 --> 00:19:19,330
from a certain point,

401
00:19:19,331 --> 00:19:22,116
all the musicians
were allowed to break free.

402
00:19:23,121 --> 00:19:25,168
And now these are session musicians.

403
00:19:25,169 --> 00:19:27,375
They're not used to doing
this kind of stuff,

404
00:19:27,376 --> 00:19:29,246
and it kind of frightens them a bit.

405
00:19:29,253 --> 00:19:31,173
So I sort of said,
"Okay, here's the instruction.

406
00:19:31,505 --> 00:19:34,545
I said, "Each instrument,

407
00:19:34,550 --> 00:19:36,926
"you start on your lowest note

408
00:19:36,927 --> 00:19:39,297
"and you're going
to reach your highest note,

409
00:19:39,304 --> 00:19:41,222
"but you go at your own speed.

410
00:19:41,223 --> 00:19:42,393
"So if you want, you can go,

411
00:19:42,394 --> 00:19:44,809
‐ and you're done."
‐ Yeah.

412
00:19:44,810 --> 00:19:49,230
"Or you can go...

413
00:19:49,231 --> 00:19:50,471
and you can just play with it."

414
00:19:51,441 --> 00:19:55,695
The strings wouldn't really move
without each other.

415
00:19:55,696 --> 00:19:57,486
They all went...

416
00:19:57,489 --> 00:19:59,117
‐ They're following the first guy.

417
00:19:59,118 --> 00:20:00,118
Yeah, yeah, yeah.

418
00:20:01,368 --> 00:20:05,408
Music intensifying

419
00:20:06,039 --> 00:20:09,789
‐ Whereas the brass, the trumpets,
you'll notice they're a bit more free.

420
00:20:09,793 --> 00:20:11,713
They're a bit more, the lads‐‐

421
00:20:11,714 --> 00:20:14,881
‐ Yeah. They tend to have
that personality in real life.

422
00:20:14,882 --> 00:20:16,674
Their personality showed.

423
00:20:16,675 --> 00:20:19,005
Let's listen to the‐‐
‐ It's very exciting doing that piece of‐‐

424
00:20:19,011 --> 00:20:20,181
‐ Beautiful.

425
00:20:21,722 --> 00:20:23,522
So this, uh, John brought it in.

426
00:20:24,308 --> 00:20:26,388
- Yeah.
- Guitar and vocals.

427
00:20:26,393 --> 00:20:30,605
Day in the Life playing

428
00:20:30,606 --> 00:20:32,936
‐ The Kenwood basses together support it.
‐ Yeah.

429
00:20:33,859 --> 00:20:37,778
I read the news today, oh, boy

430
00:20:37,779 --> 00:20:38,779
‐ He's working hard.

431
00:20:38,780 --> 00:20:39,950
‐ Moving again.

432
00:20:39,951 --> 00:20:42,366
‐ About a lucky man

433
00:20:42,367 --> 00:20:44,487
Who made the grade

434
00:20:46,205 --> 00:20:50,205
And though the news
was rather sad

435
00:20:52,211 --> 00:20:55,961
Well, I just had to laugh

436
00:20:58,675 --> 00:21:02,215
I saw the photograph

437
00:21:05,015 --> 00:21:08,765
He blew his mind out in a car

438
00:21:11,146 --> 00:21:15,936
He didn't notice
that the lights had changed

439
00:21:18,111 --> 00:21:19,111
‐ Yeah.

440
00:21:20,489 --> 00:21:23,029
‐ It's, it's just so interesting
that the‐‐

441
00:21:23,867 --> 00:21:26,327
Listening to the vocal and the guitar,

442
00:21:26,328 --> 00:21:30,868
it's a very laid‐back, dreamy energy.
‐ Mmm.

443
00:21:30,874 --> 00:21:31,674
Yeah.

444
00:21:31,675 --> 00:21:33,876
‐ And then the bass comes in
and it's‐‐

445
00:21:33,877 --> 00:21:35,747
‐ And the drums. Yeah.
‐ And the drums.

446
00:21:35,754 --> 00:21:38,923
‐ But it's driving in
an entirely different direction

447
00:21:38,924 --> 00:21:40,550
than the song might suggest.

448
00:21:40,551 --> 00:21:41,551
‐ Yeah.

449
00:21:41,552 --> 00:21:43,892
You know, it's great
that I felt that freedom.

450
00:21:43,893 --> 00:21:45,967
‐ Absolutely. Absolutely.

451
00:21:45,973 --> 00:21:48,770
‐ You know, the band was a very free band.
‐ Yeah.

452
00:21:48,771 --> 00:21:50,935
‐ We would allow each other
pretty much anything.

453
00:21:50,936 --> 00:21:51,806
‐ Yeah.

454
00:21:51,812 --> 00:21:54,692
‐ Unless it was, like, really stunk
and it was, like, "Oh no, forget it."

455
00:21:55,232 --> 00:21:58,818
Um, then we'd all gang up
on whoever that was and stop it.

456
00:21:58,819 --> 00:21:59,819
‐ Yeah.

457
00:21:59,820 --> 00:22:02,947
Found my way
downstairs and drank a cup

458
00:22:02,948 --> 00:22:04,448
And looking up

459
00:22:04,449 --> 00:22:07,034
‐ And this is
my childhood experiences.

460
00:22:07,035 --> 00:22:09,445
‐ Found my coat
and grabbed my hat

461
00:22:09,454 --> 00:22:11,004
‐ You know, going to school.
‐ Oh.

462
00:22:11,005 --> 00:22:12,707
In seconds flat

463
00:22:12,708 --> 00:22:14,378
‐ I used to go to school
on the bus, you know.

464
00:22:14,379 --> 00:22:17,545
‐ Found my way upstairs
and had a smoke

465
00:22:17,546 --> 00:22:20,126
‐ Maybe I didn't have a smoke
on the way to school.

466
00:22:20,132 --> 00:22:20,922
‐ Yeah.

467
00:22:20,924 --> 00:22:22,014
‐ But‐‐ ‐ Yeah.

468
00:22:23,302 --> 00:22:25,642
‐ For the purposes
of the song, yeah, exactly, yeah.

469
00:22:26,346 --> 00:22:28,556
‐ Poetic license.
‐ Yep.

470
00:22:28,557 --> 00:22:30,387
Vocalizing

471
00:22:30,392 --> 00:22:35,812
‐ Was that‐‐ Did you write this piece
to go with what John brought in,

472
00:22:35,814 --> 00:22:36,864
or did you already have this?

473
00:22:36,865 --> 00:22:39,397
‐ No. I already had
the little middle thing. Yeah.

474
00:22:39,401 --> 00:22:41,861
‐ Is this the first time you guys put
two songs together?

475
00:22:41,862 --> 00:22:43,237
‐ Could be.

476
00:22:43,238 --> 00:22:44,908
‐ It makes it new music.

477
00:22:44,909 --> 00:22:48,287
If you just started with what
would ordinarily accompany

478
00:22:48,288 --> 00:22:50,115
that kind of song, ‐ Yeah.

479
00:22:50,120 --> 00:22:52,997
‐ it would be a ballady,
a folky ballad.

480
00:22:52,998 --> 00:22:54,457
‐ Mm. Yeah.

481
00:22:54,458 --> 00:22:56,708
‐ You know?
But to hear it come

482
00:22:56,710 --> 00:22:59,090
in this other direction,
unexpected...

483
00:22:59,091 --> 00:23:00,296
‐ Yeah.

484
00:23:00,297 --> 00:23:03,007
‐ it feels like we've never heard music
like this before by anybody,

485
00:23:03,008 --> 00:23:04,428
you know, that's the thing about it.

486
00:23:04,429 --> 00:23:08,256
It's like it takes
a traditionally written song

487
00:23:08,263 --> 00:23:12,099
and turns it into, essentially,
avant garde music,

488
00:23:12,100 --> 00:23:13,890
even using traditional instruments.

489
00:23:14,394 --> 00:23:17,904
‐ Yeah. Normally, you know,
it sort of worked like that.

490
00:23:17,905 --> 00:23:20,816
You could get away
with a lot of free playing.

491
00:23:20,817 --> 00:23:23,067
Piano music playing

492
00:23:23,070 --> 00:23:24,779
Oh, piano. Who's playing piano,
do you know?

493
00:23:24,780 --> 00:23:26,870
That's got to be me.

494
00:23:27,741 --> 00:23:29,581
‐ It does sound avant garde as well.

495
00:23:37,042 --> 00:23:38,334
‐ Ha!
‐ Wow.

496
00:23:38,335 --> 00:23:40,955
Sustained note ‐ Boom!

497
00:23:40,963 --> 00:23:44,340
And then this piano end, this‐‐

498
00:23:44,341 --> 00:23:48,010
I'd realized, I'd noticed
that with the piano,

499
00:23:48,011 --> 00:23:49,554
how long,

500
00:23:49,555 --> 00:23:52,014
if you hold down a loud pedal
on the piano,

501
00:23:52,015 --> 00:23:55,385
how long the chord lasts.

502
00:23:55,394 --> 00:23:57,854
And I just do it like
a party piece with friends.

503
00:23:57,855 --> 00:23:59,105
‐ Yeah.
‐ I say, "Listen to this."

504
00:23:59,106 --> 00:24:03,776
plays note

505
00:24:12,286 --> 00:24:15,156
I brought the idea in,
"Hey, man, it goes on forever.

506
00:24:15,163 --> 00:24:19,671
We should do this at the end of a song,
where it's just‐‐ have it go on."

507
00:24:19,672 --> 00:24:22,298
And of course, George Martin,
being a clever producer,

508
00:24:22,963 --> 00:24:24,922
magnified the idea.

509
00:24:24,923 --> 00:24:27,763
And he took the raw thing
that I'd showed him.

510
00:24:33,098 --> 00:24:36,848
George then added another
chord on top of it. ‐ Yeah.

511
00:24:38,478 --> 00:24:39,687
‐ But it goes on forever.

512
00:24:39,688 --> 00:24:41,518
‐ A really long time, and if you listen,

513
00:24:41,523 --> 00:24:43,152
it almost sounds like it changes.

514
00:24:43,153 --> 00:24:45,860
‐ Yeah, you start to hear
a little harmonica and things.

515
00:24:45,861 --> 00:24:48,821
Yeah. You know,
there's the magic again.

516
00:24:48,822 --> 00:24:51,908
Piano note continues

517
00:24:54,995 --> 00:24:56,905
‐ Oh yeah

518
00:24:56,914 --> 00:24:59,123
Alright

519
00:24:59,124 --> 00:25:02,585
Are you gonna be in my dreams

520
00:25:02,586 --> 00:25:03,706
Tonight?

521
00:25:26,360 --> 00:25:27,820
Love you

522
00:25:28,320 --> 00:25:29,700
Love you

523
00:25:30,322 --> 00:25:31,662
Love you

524
00:25:32,199 --> 00:25:33,409
Love you

525
00:25:34,117 --> 00:25:35,327
Love you

526
00:25:36,036 --> 00:25:37,286
Love you

527
00:25:38,038 --> 00:25:39,248
Love you

528
00:25:39,957 --> 00:25:41,037
Love you

529
00:25:41,875 --> 00:25:43,245
Love you

530
00:25:43,877 --> 00:25:45,047
Love you

531
00:25:45,838 --> 00:25:47,048
Love you

532
00:25:47,756 --> 00:25:48,966
Love you

533
00:25:49,675 --> 00:25:51,045
Love you

534
00:25:51,593 --> 00:25:52,933
Love you

535
00:25:53,512 --> 00:25:54,722
Love you

536
00:25:55,430 --> 00:25:56,720
Love you

537
00:25:57,057 --> 00:25:58,517
Love you

538
00:25:59,226 --> 00:26:00,556
Love you

539
00:26:01,144 --> 00:26:02,404
Love you

540
00:26:03,063 --> 00:26:04,363
Love you

541
00:26:04,982 --> 00:26:06,072
Love you

542
00:26:06,984 --> 00:26:08,194
Love you

543
00:26:09,069 --> 00:26:10,149
Love you

544
00:26:10,863 --> 00:26:12,073
Love you

545
00:26:13,282 --> 00:26:16,701
piano music playing

546
00:26:16,702 --> 00:26:19,582
And in the end

547
00:26:20,414 --> 00:26:23,384
The love you take

548
00:26:24,084 --> 00:26:28,714
Is equal to the love

549
00:26:30,090 --> 00:26:31,924
You make