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Next to this quarry, a group called The Quarrymen...

performed at the Village Fete.

There are no plaques or signposts, but at the side of this quarry...

is one of the most significant sites in the whole history of rock 'n' roll.

Because this, in this ground here...

is where Paul McCartney first saw John Lennon...

perform with The Quarrymen, where they first got together.

From here, the whole history of rock 'n' roll was to change...

and Liverpool was to become the rocking city...

create a type of rock 'n' roll and take it right back...

to the home of rock 'n' roll in America.

And here, at St. Peter's Village Hall...

just a short walk away from the Village Fete...

where The Quarrymen played...

about 20 yards from the gravestone of a certain Eleanor Rigby.

And in this very room, rock 'n' roll was redefined...

when Paul sat down to chat with John...

and John started playing some chords on his guitar...

and Paul started writing out some lyrics for him...

and the two of them began to chat...

realized that they had a closeness between them almost straightaway.

As a result...

the huge explosion, exciting new rock 'n' roll...

hit the world in the '60s and it was all born in this very room.

The two of them got together, met, were kindred spirits...

and soon after, one of John's friends went up to Paul and said:

"John wants you to join the group."

In the Liverpool home where he lived with his aunt and uncle...

John Lennon dreamed of becoming a rock star like Elvis Presley.

Just down the road lived Paul McCartney...

whose father once played in a ragtime band.

George Harrison, who lived in this house...

and rode the bus to school every day with Paul...

idolized guitarist Duane Eddy.

Growing up near the city's docks, Ringo Starr played drums...

with Liverpool's biggest rock band, The Hurricanes...

until he met The Beatles in Hamburg, Germany.

None of them had been abroad before...

and suddenly were in this neon-lit street...

with all sorts of sex shops...

and gangsters on the door.

They were just boggle-eyed.

They served their musical apprenticeship in Hamburg.

They worked sometimes from 6:00 at night...

till 3:00 in the morning, and they exploded onstage.

The bouncers thought, '"Oh, my God, there's a fight. '"

It wasn't. It was the explosion of The Beatles.

Then we went back to Liverpool and got quite a few bookings.

They thought we were German. They billed us from Hamburg.

And they all said, "You speak good English."

Brian suggested that we just wore ordinary suits.

So we just got what we thought looked like good suits...

and just got rid of the other gear.

Bands like ourselves, The Beatles, the Big Three, and The Searchers...

and everyone, we all tried to be unique and play our own type of music...

what we liked, and tried to get our own sound.

And because we all were resident at the Cavern Club...

that was the place to come and see all the bands.

It wasn't just the music when you went to see The Beatles.

You knew you were going to come out on an absolute high.

This is Mathew Street. This is where the Cavern Club was a really...

raving place in the '60s.

It started off as a trad jazz club...

and then The Swinging Blue Jeans made the place very popular...

with the Blue Jeans' night out.

And then The Beatles started to play here, and all the other groups...

like The Searchers and Gerry and the Pacemakers.

This is where the Cavern was.

People ask me about the Cavern...

and I always tell them that it was sweaty and it smelt...

but to me, it was the best rock 'n'roll place that ever was.

And in the early '60s, it was a place where kids...

could rock 'n'roll and have fun...

without anybody getting on their backs.

It was a tremendous atmosphere. I don't know why, but...

I always thought that The Beatles...

sounded better at the Cavern than anywhere.

You know, they were a lot more ballsy than the records.

Brian Epstein, when he went down to the Cavern...

Brian hung out in a completely different world.

He was rich...

he had a successful family, successful furniture business...

that had a small record store in it...

which is how... People kept coming in saying:

'"Hey, have you got that record of The Beatles...

'"and Tony Sheridan, 'My Bonnie Lies Over'... Do you have that? '"

After the 40th time of kids coming...

and asking for the record, he said, '"Maybe I better get this record. '"

He stocked the record in, sold it out...

got another 1,000, sold that out, and he said, "Who are these kids?"

"They are playing at this place called the Cavern. Check them out."

The Beatles were then just four lads...

on a rather dimly lit stage.

I was immediately struck by their music, their beat...

and their sense of humor, actually, onstage.

And even afterwards, when I met them...

I was struck again by their personal charm.

And it was there that, really, it all started.

We do like the fans...

and enjoy reading the publicity about us...

but from time to time, you don't realize that it's actually about yourself.

Once when the boys came for me...

they popped in to see me mom and dad, you know...

we had to go out the back 'cause there was 20 or 30 outside.

And they wouldn't believe me mother.

They'd knock in, saying, '"Can we have their autographs? '"

The Beatles came down themselves about 2:30, 3:00 in the morning...

and they were talking to us and signing autographs.

And then they went away, and then we sort of all sat down...

and some of the lazy ones sort of fell asleep...

but the rest of us just kept awake on coffee...

and dreams of The Beatles.

The Beatles were like a gift from God.

I was just at the perfect age for that...

fourteen.

Gave us all an identity.

And I've thought before, just for the music...

it was such a bonus that the music was, like, the best music ever.

I was Beatles all the way, man.

My bedroom wall was in fact completely covered...

the walls, ceiling, doors... Any Beatle pictures were stuck on my wall.

I used to have these fantasies of Paul McCartney marrying my sister...

and all this kind of crazy stuff.

And how wonderful it all was.

You're going over to the States early in the new year...

and you're going to top the bill on the Ed Sullivan Coast to Coast Show.

John, so far all British pop stars...

have not made a tremendous impact on the States.

How do you think you're going to fare?

I can't really say, can I? I mean, is it up to me? No.

I just hope we go all right, you know.

Are you going to vary your act for the American audience?

No. We haven't really got an act, so we'll just do what we do.

I went to New York with the boys...

and you would see men...

middle-aged men walking down 5th Avenue...

with Beatles wigs on their heads.

And no matter where you turned your dial on the radio...

at any time of the day...

you would hear a Beatles song. It was complete saturation.

I think life for The Beatles in the early days was very tough.

Once the success had come...

once they were not only a success in England but also broke the breeches...

in America...

then they lived in a giant goldfish bowl, and they couldn't escape.

The British invasion this time goes by the code name:

Beatlemania.

D- day has been common knowledge for months and this was the day.

The Beatles are coming.

It got bigger and bigger. Finally we got to the point...

where they landed at the airport in New York...

and there was 50,000 people there. It was unbelievable.

I said, "This is it. It's all over but the shouting."

We had never seen an airport that you couldn't get to...

because of kids standing out there, screaming.

We'd never seen kids fainting like that at concerts.

We'd never heard screams like that...

that you couldn't even hear the music while the guys...

And you knew they were playing.

We knew that there was a problem that had just landed.

I knew that they were different...

and that their voices blended together...

and that they had a great talent.

And I knew they were going to be big, and I hated them for that.

What do you think of the comment...

that you're nothing but a bunch of British Elvis Presleys?

It's not true.

Are you going to get a haircut while you're here?

- Nope. No, thanks. - I had one yesterday.

And that's no lie. It's the truth.

I remember one day, I combed my hair down in a Beatle haircut...

and my father laughed. He thought that was so funny.

When he realized I wasn't going to comb it back...

he got really pissed off.

These girls were losing their minds.

This appealed to me in a very fundamental way.

I think I was about 13 or 14, and these girls were going nuts.

I was pregnant...

with Kenya, my daughter, when the Beatles thing swept.

And I remember I Want To Hold Your Hand...

and I'd be in the kitchen just sweeping and cooking...

and taking care of the babies, singing I Want To Hold Your Hand.

I was so taken with I Want To Hold Your Hand...

that I was up all night 'cause I didn't have a copy of it...

and I wanted to hear it. They played it once an hour.

When we saw what happened with The Beatles...

we had a meeting and said, "What are we going to do here?

"We're getting eclipsed by a group called The Beatles from London."

My God... We were completely jealous as hell.

I guess that might have turned our motors on...

maybe got something happening...

where we would be better musically than The Beatles.

The Beach Boys were hugely important...

demonstrating what you could do and what you couldn't do in a studio...

opening up the...

And Motown had already done that to some extent.

You know, Motown had actually shown...

that black pop dance music, R & B dance music...

could just be extraordinarily beautiful to listen to...

and beautifully produced and elegant.

It was a very big influence.

When we first started to make...

a bunch of hits...

in Detroit...

and we called it the Motown sound...

people were coming from Africa.

They were coming from England.

They were coming from Chicago, New York, Nashville and Memphis...

to record their people in Detroit...

because they thought they would get the Motown sound...

like it was in the air somewhere.

Motown is history. It is the greatest. And there will always be a Motown.

And when you look at Motown and listen to Motown...

and listen to any artist that comes from Motown...

you think of Berry Gordy...

Stevie Wonder...

The Supremes...

The Four Tops...

Marvin Gaye...

Temptations...

You have to think of just these people...

because that was the foundation of the Detroit sound.

And it lives today, and it will always live.

The music of the time, like The Beach Boys and Motown...

really didn't affect us, because that was still American music.

America at the time was hung up from these daft people from England...

these scouses from Liverpool...

singing this daft happy music that they enjoyed doing.

So the Motown scene didn't matter to us, really.

We had our own niche with the American public.

1964 was the beginning of the British invasion...

when The Beatles finally broke down the barriers.

And I guess that, because it'd been pent up so much...

because people were awaiting it...

there had been singles released on little labels...

it came with a big rush.

And in that breach poured lots of British talent after it.

I actually wrote it for my girlfriend.

We had an argument one evening, and she said, "We're finished."

I thought, "How can I get her to come back to me?"

So I wrote Don't Let The Sun Catch You Crying...

for her and I sent it to her on a tape, and two days later she rang me back...

and she said, "Gerry, can we get back together again?"

That young girl from all those years ago is now my wife.

We were always impressed by the English bands...

largely because a lot of the bands that came over here...

were just the cream of the English bands.

Over here, we're exposed to every band, and there's really bad bands...

and there's really good bands, and everything in between.

But the ones that would make it over here from England were the best.

Many people came up to me and said...

that the first time they heard us and House Of The Rising Sun...

was on the Chuck Berry tour.

When we met Chuck Berry...

he was instrumental in making The Animals...

really successful in America.

We were on tour with Chuck Berry...

and every band in Britain wanted to be on that tour.

The Stones were standing in line.

Everybody was making agent, managerial, political overtures...

to get on the Chuck Berry tour.

And we pulled it off.

I realized that if you try to out-rock Chuck Berry...

you're wasting your time.

So I was looking for a song that wouldn't be...

and would have a different feel to it, but that would be very erotic...

and very atmospheric.

So we sang House Of The Rising Sun.

When The Animals first went to America...

we flew into Kennedy airport...

and the pilot told the passengers...

that we had to be taken to a separate part of the airport...

because the fans were mobbing security guards...

were creating mayhem at the reception.

And then we were hustled into a car...

taken to an airport building that we stood behind...

and there was a press conference with loads of chaps...

with cameras and notebooks all sitting there very nicely.

And then they asked us to go onto the stage...

and they said, "Animals, do something. Roar. Growl."

All of a sudden, we were standing in front...

you know, like animals in a zoo, being told to perform.

Then we were hustled through customs.

They thought it'd be a great exercise to be filmed going into New York.

They'd got all these British sports cars...

and we had to sit perched very precariously...

on the back of these sports cars...

driven all the way from Kennedy Airport into the center of Manhattan...

waving at nonexistent crowds...

and we were opening at the Paramount Theater in New York...

and we did 50 shows in 10 days.

There was a great sense of brotherhood...

great sense of, "We're all in this together...

"and let's go to America and kick ass," you know?

The Animals and The Stones were very similar...

to the northwest bands.

That raw edge to them, the roughness.

They weren't in suits. They were sort of anti-establishment.

But we were all cowboy fanatics at the time.

We liked all the Western movies from Hollywood...

like all the John Ford movies...

and we thought, "We'll go the opposite way.

"We'll call ourselves The Searchers, after the John Wayne movie."

But with Needles and Pins, it was such a big number one for us.

It was number one for four weeks.

Image was very important, name was very important...

behavior was very important.

Music was kind of important.

What was more important than the music you played...

was where the music you played originated.

And for The Stones, they played blues.

Four months after The Beatles appeared on the Ed Sullivan Show...

The Rolling Stones landed in America.

The band had taken its name...

from the song by bluesman Muddy Waters...

and their barreling style from rock pioneer Chuck Berry.

The British were going straight to the sources.

Willie Dixon, you know. Chuck Berry.

They were going right straight where it came from.

And they hit it hard 'cause they knew that's... The Delta Blues.

They knew exactly what the sources were...

because they were students of American music...

and much more so than American musicians were.

They gave everybody a run for their money.

My first impression of The Rolling Stones was:

"Yeah. That's the band I want to be in.

"I'm going to be in that band."

You know, it's amazing what the imagination...

and a bit of fate and determination can do.

The first tour was tough.

We were popular in New York and LA. But the rest of it. Forget it.

We used to play to empty stadiums.

It was tough.

The America then was...

very conservative in its attitudes.

We had a motel with a swimming pool. It was right next to a freeway.

Obviously, some outraged Southern cop had driven by...

and seen these longhaired people with no bras on...

around the swimming pool.

Five minutes later up come the state troopers...

good old redneck boys, you know...

to arrest these chicks for topless bathing.

And then they're, "What are they..."

So they're taken aback.

We don't understand why we're supposed to be arrested...

because, you know, "I'm sorry. I left the bra in London."

Why do you like The Rolling Stones?

Because Keith is beautiful and they're great.

And because they're so ugly that they're appealing.

I think they're the greatest. They dress different.

They're the best things that have ever happened in the U.S.

We could see where we had an audience...

where we went down really well.

They loved it, so we could see what we were gonna get...

and we had supporters, we has disc jockeys that liked our records.

But, anyway, we knew we had to come back and do it again and again.

It was a bit scary. I mean, we had some very scary moments.

I remember one moment that scared me very much.

We were in a limo, coming to a gig...

and the whole thing was just engulfed with people...

just all over the limo.

And then I thought, '"No one's coming here.

'"We're just kind of stuck in this limo. What's actually gonna happen? '"

The Rolling Stones had a big influence on everybody...

as to what to do and what not to do.

You know, they're the best example of doing the right thing...

and then doing the wrong thing.

The Beatles were the good boys. The Stones were the bad boys.

Being the bad boys may have been more fun...

and I think The Beatles may have been jealous of that.

The Beatles and The Stones were always friends...

but they were also rivals.

The Stones were kind of upstarts, in a way.

They came almost, but a little bit later than The Beatles...

and I guess The Stones were the image that the mothers didn't want...

whereas The Beatles became the image that mothers did want...

so, in a way, that worked against The Beatles...

who really wanted to be as rough and tough as The Stones.

I woke up in the middle of the night...

put it down to maybe a minute of...

'"I can't get no satisfaction. '"

And woke up the next morning and looked at my cassette machine...

and seen that it's gone from the beginning of the tape to the end...

and I don't remember doing any of this.

What people said about it was that the lyrics were kind of...

very direct.

I just wrote what I felt, really.

You couldn't ask for better rock 'n'roll-type people...

than The Beatles or The Stones.

The Beatles and Gerry and the Pacemakers made it...

and The Searchers made it...

and Billy J. Kramer & the Dakotas made it...

and there were no bands left.

They'd all become stars and gone to London, and they were touring...

in the big buildings.

So the only club band left basically, the best of what was left...

was Herman's Hermits.

Every band had to be different, otherwise you couldn't survive.

You had to find your thing.

And Herman's Hermits chose to go the pop sound.

I couldn't write songs like John Lennon or Paul McCartney.

I looked silly wearing the leather clothes.

You know, I didn't look like a Gene Vincent-type character.

I wasn't part of a band, so we chose to be like a pop band.

We went, '"Let's do good romantic songs.

'"Let's make records like old movies where everyone lives happily ever after. '"

I had become friendly with Paul McCartney and...

had heard this song that he'd written called...

"World Without Love," which The Beatles had declined to do.

I heard it and thought that it was a song Gordon and I could sing reasonably well.

So I asked Paul.

I said, "We've got this record contract. We're going to go and cut some songs.

"Could you finish that song?" It was unfinished. It didn't have a bridge.

And he finished it, wrote the bridge...

and we went and recorded it. And fortunately it was a big hit.

It really wasn't until The Beatles and the whole English invasion...

that I became just a crazed Anglophile...

and would pick up anything I could about English bands...

particularly ones that weren't even available in the States.

But it was always English music for me. That was the turning point.

The Kinks were much more quintessentially English.

I always think...

that Ray Davies should one day be poet laureate.

You know, he invented a new kind of poetry...

and a new kind of language for pop writing...

which I think influenced me from the very beginning.

The Kinks were completely crazy. Completely.

They would do things like...

cut all the wires...

to the electricity while you were playing. Just cut them with pliers.

They would throw things at you while you were playing.

They were completely nuts.

But once you heard that You Really Got Me...

you knew that they were destined for fame and glory.

London was the known center of the universe...

as far as the '60s were concerned.

I'm not saying that in a conceited manner.

It's where the fashion was emanating from.

Politics were unfolding.

Carnaby Street was for the kids...

coming in on the tube to think they were buying what Londoners were buying.

If Eric Clapton wore a suit...

with wide lapels, like a Georgian suit...

it very quickly appeared in Carnaby Street.

It really was, all the Carnaby Street thing...

Fantastic clubs.

It's a memory that you don't have to romanticize.

It was very real.

All of a sudden, kids had to have long hair like they had in England.

We almost began to talk like Englishmen.

We wore the same clothing.

All sorts of things happened with the look that we borrowed from England.

We took how we looked...

we took fashion and all that stuff very seriously.

I remember thinking a lot about how I would have to look.

The energy in London, and the energy around the music...

and then The Stones, there was this onward-going battle.

They were all down in the clubs together.

But it was all about, "Where are you on the charts today?"

And it was all very real, you know.

They were pumping records out, and they were so prolific.

Andrew Oldham was very keen that we write songs because of obvious reasons.

First, we got more money.

One of those was As Tears Go By...

which Marianne Faithfull recorded, and that was a quite good one.

But again, it was a song written for a woman, more or less.

It became a hit because it was a better song, she was good looking...

and Andrew promoted it, and so on.

And we promoted it because we wrote it, by which time, we were quite well known.

The whole thing of it took off.

I did realize that it was a very strange song...

for a 17-year-old to sing.

And, of course, it's haunted me all my life and probably always will.

It took me a long time to really like it.

I couldn't until I really became more the right age.

My legs were shaking. My knees were knocking together...

which, of course, was incredibly charming, I suppose...

for the audience to see this beautiful little, blond...

angelic creature shaking with fear...

listening to people judging As Tears Go By.

I always liked the British sound.

We got fearful 'cause they were getting ready to dominate the charts.

It was kind of a fearful thing for Motown, '"Wow, what's going to happen? '"

But it really didn't hurt at all.

It's just that they had their space and we just had ours.

It was really a great compliment to everybody...

that these two musics were really dominating the charts.

There were so many Motown artists who were all good.

It was just like a stable of talented people.

When I listen to some of The Supremes...

they are bigger than The Beatles, as far as I am concerned...

but they never got that recognition. That always bothered me.

'Cause The Supremes were the biggest things happening.

The Spoonful was touring the south in 1965...

with The Supremes.

The theory being...

both of us were going to increase our audience base.

And we were both anxious to share in some of the other's audience.

We provided a direct rebuttal to the English invasion.

People kind of expected us...

to imitate The Beatles in a lot of ways that we didn't.

What happened to America...

in this crisis of confidence when The Beatles...

and Freddie and the Dreamers even were wiping out American bands?

America looked at the situation, assessed it...

and within a very short time, by the end of '65, '66...

it was back in business.

In our neck of the woods, they were a pretty popular band.

I never noticed a Hammond organ in my life till I saw The Rascals.

Then we went and scrounged up somebody's old Hammond organ...

and here's a whole other texture of sound.

People don't realize the contribution The Rascals made.

They were the uptown band. They had this vicious rhythm section.

I mean, it was popping.

Between Felix's left hand and Dino Danelli, I mean, it was great!

There was also a tremendous amount of competition between bands.

It was a very competitive thing...

between the East Coast and the West Coast.

The Byrds were the West Coast guys at the time.

We became this very free, unstructured act onstage...

and did what we pleased and built around...

a real song-oriented show.

The vocals were great. Gene Clark was a fine lead singer.

And McGuinn and Crosby.

We were really turning into a pretty decent band.

It was starting to sound real musical.

But we couldn't turn down a trip to England...

'cause it was where The Beatles and Stones came from.

We thought maybe something in the water made you sound better.

We didn't know what it was, but we wanted to go over there.

So we went over there, and our unscrupulous promoter...

had billed us as "America's answer to The Beatles."

I mean, The Byrds were not in The Beatles' class ever.

We became a good band, and we had a lot of good ideas...

but we were not America's answer...

to bug spray, let alone The Beatles.

In the early '60s the only people in LA were The Beach Boys...

and a few other bands.

Once we started out there, a lot of the bands started coming to LA.

It seemed like The Byrds were a catalyst...

for that music scene to develop into more of an alternative area.

I was dropped on my head when I was three years old.

Someone was throwing me in the air and catching me.

They called his name, and he looked away and I went...

So I've heard harmony ever since.

When I hear a melody, I hear a harmony to it. It's strange.

John arranged everything that The Mamas & The Papas ever did.

He was the vocal arranger from heaven.

I mean, he just had a great magical touch.

Creeque Alley was just a... All of our friends who were in California...

and who were here and there, and what they were doing and what was going on.

The Lovin' Spoonful and The Byrds.

Michelle was the very first runaway in California.

She was the atypical California girl that Brian Wilson wrote a song about.

California Girls. And she was absolutely, ravishingly beautiful...

and had long blond hair, and didn't wear shoes, and had beads...

and had run away, and she was 16 years old.

A real delight.

Denny had one of the most beautiful voices I had ever heard.

So Denny and Michelle...

and I started singing together.

We started to sing as a trio.

And everywhere we went, he was always on the phone...

with this girl that he was talking to.

Constantly. Everywhere we went. Every city we went to.

He was on the phone with this girl named Cass.

And we said, "So who is this chick? Is she your girlfriend?"

We decided that we were going to really keep everything in the song...

factual.

We weren't going to take any liberties, you know.

John is a very clever writer, you know.

And the whole song was completed in about three hours.

From LA to London, Rock was now a truly international phenomenon.

And back in England, new bands were busy developing a cocky edge.

They were led by The Who and Pete Townshend...

who made a ritual out of demolishing his electric guitar on stage.

You have to remember that The Who broke a full year and a half...

after The Stones and The Beatles had broken, maybe more than that.

By that time, we were allowed to be angry.

You know, The Stones and The Beatles had broken enough rules.

So our anger wasn't all our own anger.

Our anger was a reflection of the anger that we felt from people in the audience.

I think I wrote it as a series of songs...

about my inability to express...

what I felt to women.

A couple of kids came up and said, '"You know, that was great. '"

And I said, "It's just about some kid who can't explain what he thinks."

And they said, "That's it! That's us!"

That was really when I realized...

that I'd been voted in as spokesman for that bunch of kids.

Most of the scene was actually happening in London.

There was a kind of an invisible line...

that went from just north of London to the rest of England.

It wasn't until The Beatles broke through and became very successful...

that it changed all that geographically.

We came up with Carrie-Anne. That was originally Marianne.

We actually wrote it about Marianne Faithfull...

but didn't have the guts to call it "Marianne."

So we called it "Carrie-Anne," a made-up name we'd never heard of.

I must say, when it came out, I wondered if it was written for me.

But I sort of brushed it aside, like I always have done really.

"No, of course it wouldn't have been."

The bands for me that meant a lot...

primarily The Beatles without question, above all...

The Kinks and the Small Faces...

and somewhere behind them other groups like...

The Spencer Davis Group.

Steve Winwood was now known as this child prodigy...

a title that he didn't take to very kindly, I can assure you.

He didn't like it. He wanted to be a musician.

He wanted to be one of the boys.

In March of 1966, John Lennon made an off-the-cuff remark...

suggesting that The Beatles were bigger than Jesus.

His comments caused an uproar.

In America 's conservative Bible belt...

records were burned and protests organized.

I think John's remark about Jesus Christ...

obviously was a stupid thing to do.

I don't think he meant it the way it was interpreted.

He didn't mean to say, "Hey, we are bigger than Jesus."

What he meant to say was that Jesus...

or rather Christianity didn't seem to be as popular as The Beatles.

The burning of Beatles records...

and the general anti-Beatle element that arose...

was very disturbing. It was pretty rough stuff.

And as you know...

John actually made an apology saying that he didn't mean it that way...

but if he did upset people, he was really sorry about it.

I am not saying that we are better, or greater, or comparing us with...

Jesus Christ as a person, or God as a thing, whatever it is.

I just said what I said, and it was wrong, or was taken wrong...

and now it's all this.

Fame, if you have too much of it, is a pretty heavy penance.

And it got very wearing.

It was in danger of destroying their lives.

So it was difficult for them to cope with that.

That was one of the reasons why they wanted to relax into the studio more.

The Beatles came, and the whole English invasion behind that.

And suddenly here was something that was of my own generation.

Because it was a strange thing...

to soak up the '50s music at the age of 12, when it was really all over.

It was just great.

Exciting, fresh, and interesting. They're very good, really musical and funny.

What can you say about The Beatles?

They really transformed popular music.

Something that I guess we've taken from The Beatles...

is the thing of never trying to repeat yourself.

Always keep moving.

These four guys from Liverpool were stealing a march on us.

It was a slap. It was a brawler for a while...

especially since they were successful...

and we weren't.

But we met them real early. They heard about us and came to see us...

one night in some club.

Suddenly they were regular guys, we started talking guitars and songs.

Because at that time Mick and I hadn't considered writing songs.

In fact, if it wasn't for The Beatles, we probably never would have.

The British invasion had the biggest impact on me.

Stuff that was coming out of England...

The Animals and The Stones and The Beatles.

Then I went back and discovered...

a lot of the blues roots and soul roots, and the original records.

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