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♪
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PAUL MCCARTNEY: You know,
I meet a lot of young groups and I say,
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"I can't read music or write it."
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They go, "What?"
[Rick chuckles]
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And it's like...
"Well, that doesn't work.
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Well, if you've done this,
how could you do it without‐‐"
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But it means that it's here.
It's not on a bit of paper.
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♪ playing upbeat music ♪
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♪
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I tell kids who want to learn the piano,
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I say, "Okay, here's you go.
Start with middle C."
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[plays note]
We all know that.
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It's the first thing in a piano lesson.
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And then think about like
the Eddie Cochran thing.
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♪ playing music notes ♪
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I say, "Well, that's... that's a chord,
if you play those together."
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♪ plays chord on piano ♪
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"And you just got that,
remember this and that.
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So you do that. One space.
Finger. One space. Finger."
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So there you've got the chord.
I say, you know, "We started there."
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RICK RUBIN: Mm‐hmm.
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‐ And so, you could kind of write
a song... with that.
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‐ Yeah. Yeah.
‐ But if you just move this up one,
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♪ plays higher music chord ♪
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...it's the same shape.
‐ Yeah.
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‐ You've got another chord.
‐ Yeah.
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‐ Now you've got two chords.
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♪ playing musical chords ♪
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Move it up again,
you got three chords.
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RICK: Yeah.
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PAUL: And move it up again,
you got four chords.
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RICK: Yeah. Yeah.
PAUL: And then again, you got five.
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And then now you've got six.
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Well, you don't need more than that.
‐ Yeah.
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‐ So you can now
put permutations of that...
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‐ Yeah.
‐ and you get songs, you know, like‐‐
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♪ light piano music playing ♪
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RICK: Yeah.
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♪ music continues ♪
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♪
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‐ ♪ Oh oh oh ♪
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♪ Baby baby yeah ♪
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♪
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But it's that same little shape.
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‐ Yeah.
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‐ ♪ But that shape is a marvelous shape ♪
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[Rick chuckles]
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♪ You can do anything
with that shape ♪
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♪
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You know?
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RICK: Did your dad
teach you that shape?
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‐ No, we figured that out from‐‐
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♪ playing rock music on piano ♪
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‐ Yeah.
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‐ We had to know this
to do Jerry Lee Lewis.
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‐ Yeah.
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‐ ♪ Oh, baby,
a whole lotta shakin' goin' on ♪
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RICK: Yeah.
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‐ So once you figure that‐‐
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♪ playing chords ♪
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So it really gets
super fascinating, I think.
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‐ Absolutely.
‐ You know, you,
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you've got all the chords
you can play with,
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put those in permutations,
then mess with the bass notes.
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Obvious thing to do is to do
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the... the note
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one octave down
that relates to that chord.
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♪ plays lower chord ♪
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But you can do‐‐
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♪ playing melody ♪
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‐ Harmony.
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♪
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‐ And you, you're getting
really dramatic now.
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♪
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‐ Yeah.
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‐ And I think that's all we ever did,
you know, just experimented.
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Uh, with John doing Imagine,
you could hear that's him‐‐
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[humming]
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RICK: Yeah.
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‐ It's just sort of what
we'd learned based on that.
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♪ playing rock music on piano ♪
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‐ Yeah.
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‐ I saw John Legend the other night,
and John's doing this‐‐
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♪ playing chords on piano ♪
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I forget what the song was.
And then he sort of goes‐‐
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♪
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But that's, that's those‐‐
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‐ Yeah. Yeah.
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‐ You, you know, if you put
some nice soul stuff over that‐‐
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♪ I got pain, I got my pain in my heart ♪
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You know?
RICK: Yeah.
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[indiscernible singing]
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Or‐‐
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♪ When I find myself
in times of trouble ♪
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♪ Mother Mary comes to me ♪
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Same chords.
‐ Wow.
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‐ ♪ Words of wisdom ♪
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♪ Let it be ♪
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RICK: Wow.
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‐ ♪ Let it be, let it be ♪
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♪ Let it be, let it be ♪
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♪ 'Cause there will be an answer ♪
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♪ Let it be ♪
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♪ Let It Be playing ♪
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♪
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♪ Let it be, let it be ♪
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♪ Let it be, yeah, let it be ♪
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♪ There will be an answer ♪
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♪ Let it be ♪
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♪
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♪ song ends ♪
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Our favorite composer
was Bach in the Beatles
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'cause it was nearest
to what we were doing.
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And we would just say,
"Just put a beat behind it."
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‐ Yeah.
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[Paul imitating drum beats]
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Yeah.
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‐ It'd be, it'd be better.
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‐ Yeah.
‐ It'd be better then.
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‐ Yeah.
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‐ What I liked about it
was the mathematical thing,
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so that you kind of go‐‐
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♪ plays notes ♪
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Or Eleanor Rigby‐‐
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♪ playing higher notes ♪
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You do that.
So you go one, two, three, four.
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And then you found out
this is what they were doing.
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♪
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One. Two.
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And then it‐‐
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You know, so you put those together
and then on top of it, you might put‐‐
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♪ playing quick high notes ♪
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♪
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So you've got, like, you know,
two or four or eight.
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‐ Yeah. Yeah. In the same space.
‐ Very simple mathematics.
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‐ Yeah, yeah, yeah.
‐ It's all happening together,
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so it gives this lovely feel
of something satisfying.
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Eleanor.
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‐ Let's do it.
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‐ Aah!
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PAUL [on recording]:
♪ Ah, look at all the lonely people! ♪
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♪
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♪ Ah, look at all the lonely people! ♪
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♪
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♪ Eleanor Rigby ♪
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♪ Picks up the rice in the church
where a wedding has been ♪
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♪ Lives in a dream
waits at the window ♪
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‐ So that's where
they've done. Yeah.
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I remember...
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showing this to George, uh, Martin
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and we'd already done Yesterday,
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so this was like,
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it'd be nice to‐‐
I think this song could suit,
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but instead of a quartet,
it was now an octet.
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Again, just to do something
a bit different.
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And I brought it in like,
a little bit like‐‐
‐ Yeah.
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‐ Yeah, I brought it in like‐‐
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♪
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♪ Eleanor Rigby ♪
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[humming]
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And then George would show me.
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He would say, "Well, okay,
that's sort of rock and roll."
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♪ plays chord ♪
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So all pretty much in one octave.
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RICK: Mm‐hmm.
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‐ But he would then say,
"Okay, so a cello would go there
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"and then a viola would go there,
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and then‐‐"
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So he would separate all the notes.
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RICK: Yeah.
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‐ And that's a fabulous orchestration
that, that he did.
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‐ And this doesn't have
the piano in it?
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You wrote it on the piano
and then decided to‐‐
‐ Yeah, that was‐‐
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Yeah, that was the thing
because, you know, Yesterday,
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there'd just been the one guitar.
‐ Yeah.
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‐ So we decided we'd kind of try
and go a little bit further...
‐ Yeah.
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‐ And just have this,
and then I would sing to this.
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You know, so I'd show George the chords.
He would then transpose it.
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Then George would talk
to the musicians, sort of say‐‐
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[imitates beats]
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I want it kind of really,
bam, bam, quite bright.
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Staccato.
[imitating violin]
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And they got into it.
‐ Yeah.
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‐ They loved it, you know.
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It's a nice, nice little arrangement
on its own.
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‐ Yeah.
‐ And then I sang it.
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And I didn't think I was singing it well.
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I remember talking to George,
"I'm not singing this."
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He said, "No, it's okay. It's good."
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He was calming me down.
‐ Mm.
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‐ And then we double tracked it.
‐ Mm.
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‐ I think probably because
I didn't think I'd sung it well,
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so then... "Double track it."
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We cover any sins.
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‐ When you first heard
it played by the octet...
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‐ Mm.
‐ ...what was the feeling like?
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‐ It was very exciting, actually.
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Downstairs in Abbey Road,
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the eight guys assembled
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and they did it live.
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‐ Did you listen from the control room?
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Do you remember?
‐ Yeah.
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I would, I would
kind of go down and say hi
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and, you know,
listen to it down there.
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‐ Yeah.
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‐ Which is always nice first.
‐ Yeah.
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‐ Then you go up and see
what the engineers are making of it.
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‐ Yeah.
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‐ You know, they'd put it all together.
‐ Yeah.
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‐ Put the right little bits
of fairy dust on it.
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‐ Yeah.
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‐ And they, they now made it
like a record.
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♪
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It's funny. On the EMI desk
that we first worked on,
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there was the thing
on the end of the desk here,
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a little switch.
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You'd put it up for classical
and then down for pop.
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So ours was always in the pop position.
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It was funny 'cause we,
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[chuckles] we took things
very on face value.
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‐ Yeah.
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‐ "Why have they got a better set
of EQs than we've got?"
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They said, "No, it's not better.
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"Pop, you need more of these,
sort of aggression and so and so.
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Classical, it's more,
it's sort of more mellow and stuff."
226
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But that was our way of thinking.
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‐ Yeah.
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‐ "Wait a minute.
How come they've got that?
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We want a bit of‐‐"
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[both laugh]
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♪ classical music playing ♪
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♪
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With Penny Lane,
I'd come into the studio
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and the night before I happened
to be watching on television
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the Brandenburg Concerto. Bach.
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‐ Yeah.
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‐ I'd just kind of got it
on the background almost, you know.
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I'm listening to it.
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And then there's a little trumpet,
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very high little trumpet that Bach uses.
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‐ Mm.
‐ And I came in the next day,
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I said to George, I said,
"George, wha‐‐" Martin.
243
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‐ Yeah.
‐ I said "What was that?"
244
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He said, "Oh, that's a piccolo trumpet."
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♪
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Funny thing about George, he knew
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all the best players...
‐ Yeah.
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‐ from the classical orchestras.
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And there's a guy called David Mason
250
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who was a really good player.
251
00:11:05,040 --> 00:11:07,668
And so we just booked him.
‐ Yeah.
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‐ So we go in there
and we've done the track,
253
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and we're ready to put this,
we've left room for a solo.
254
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George and David sort of say,
255
00:11:14,633 --> 00:11:17,386
"Okay, so what do we,
what do we want to play?"
256
00:11:17,803 --> 00:11:19,012
And I go, um,
257
00:11:19,805 --> 00:11:22,266
[imitating trumpets]
258
00:11:22,266 --> 00:11:23,809
And they go, "Okay, hang on."
259
00:11:23,809 --> 00:11:25,018
And they're writing it down.
260
00:11:25,018 --> 00:11:26,478
[humming]
261
00:11:26,478 --> 00:11:28,397
So we were kind of
making it up on the spot.
262
00:11:28,397 --> 00:11:28,981
‐ Yeah.
263
00:11:28,981 --> 00:11:31,441
‐ And so I went‐‐
[imitating high trumpet note]
264
00:11:31,441 --> 00:11:34,361
and put, like,
an impossible high note.
265
00:11:34,862 --> 00:11:37,364
And David Mason turns
to me, he says,
266
00:11:37,364 --> 00:11:39,366
"Well, that's officially
267
00:11:39,366 --> 00:11:42,202
out of the range
of the piccolo trumpet even."
268
00:11:42,744 --> 00:11:45,831
And I kind of give him
a look like, "Yeah."
269
00:11:45,831 --> 00:11:48,625
Like, "You can do it," you know.
270
00:11:48,625 --> 00:11:50,711
He goes, "Okay."
271
00:11:51,545 --> 00:11:53,672
So he plays it and it's, uh,
272
00:11:54,214 --> 00:11:55,716
it haunted him
for the rest of his life, you know.
273
00:11:55,716 --> 00:11:57,593
‐ Let's hear this.
‐ Yeah.
274
00:11:57,593 --> 00:12:00,095
♪ Penny Lane playing ♪
275
00:12:00,095 --> 00:12:01,430
‐ The flute's beautiful too.
276
00:12:02,764 --> 00:12:05,100
‐ Yeah, I think it's a mix of the two.
277
00:12:05,100 --> 00:12:08,061
♪
278
00:12:08,061 --> 00:12:11,440
♪ trumpet playing high notes ♪
279
00:12:11,440 --> 00:12:14,526
♪
280
00:12:14,526 --> 00:12:15,444
Wow!
281
00:12:15,444 --> 00:12:19,281
♪ trumpet continues ♪
282
00:12:19,281 --> 00:12:20,365
‐ It's singing.
‐ Yeah.
283
00:12:20,365 --> 00:12:23,952
♪
284
00:12:23,952 --> 00:12:26,872
PAUL [on recording]:
♪ Penny Lane is in my ears ♪
285
00:12:26,872 --> 00:12:29,041
‐ Whoa!
‐ That was cool.
286
00:12:33,962 --> 00:12:37,674
‐ ♪ Four of fish and finger pies ♪
287
00:12:37,674 --> 00:12:40,677
♪ In summer, meanwhile back ♪
288
00:12:40,677 --> 00:12:44,640
♪ Behind the shelter
in the middle of a roundabout ♪
289
00:12:44,640 --> 00:12:46,642
♪ A pretty nurse is selling... ♪
290
00:12:46,642 --> 00:12:48,560
‐ It's a groove you can listen to all day.
291
00:12:48,560 --> 00:12:50,395
You know, it's just like‐‐
‐ Yeah.
292
00:12:50,896 --> 00:12:52,814
‐ That feeling doesn't get old.
293
00:12:53,357 --> 00:12:55,567
‐ ♪ She is anyway ♪
294
00:12:56,235 --> 00:12:57,903
♪ Very strange ♪
295
00:12:57,903 --> 00:13:01,698
♪ Penny Lane is in my ears... ♪
296
00:13:01,698 --> 00:13:03,283
‐ Now these are more funky.
297
00:13:03,283 --> 00:13:04,326
‐ Yeah.
298
00:13:04,326 --> 00:13:07,204
♪ trumpet playing ♪
299
00:13:08,163 --> 00:13:12,167
‐ I don't think this is David.
This is other players.
300
00:13:12,167 --> 00:13:14,962
‐ ♪ I sit and meanwhile back ♪
301
00:13:14,962 --> 00:13:16,630
♪
302
00:13:16,630 --> 00:13:19,341
‐ I never heard that before.
Crash sound. It was cool.
303
00:13:19,341 --> 00:13:21,218
‐ I've heard it. Yeah. Yeah.
[rolls tongue]
304
00:13:21,218 --> 00:13:22,302
‐ Oh.
305
00:13:22,302 --> 00:13:23,887
‐ They're so, they're so high.
306
00:13:23,887 --> 00:13:28,725
♪
307
00:13:29,268 --> 00:13:31,270
Ridiculous.
‐ Beautiful.
308
00:13:31,270 --> 00:13:34,940
♪
309
00:13:34,940 --> 00:13:39,945
♪ song ends ♪
310
00:13:39,945 --> 00:13:42,114
‐ And that's an example,
there at the end, that‐‐
311
00:13:42,114 --> 00:13:43,282
[whistles]
‐ Yeah.
312
00:13:43,282 --> 00:13:46,201
‐ I mean, anyone else would go,
"Oh, that's feedback."
313
00:13:46,201 --> 00:13:47,327
‐ Yeah.
‐ "Let's get rid of it."
314
00:13:47,327 --> 00:13:48,871
And it well might be feedback.
315
00:13:48,871 --> 00:13:50,080
I don't remember.
‐ Yeah.
316
00:13:50,080 --> 00:13:52,249
‐ But with us, going,
"No, it sounds good."
317
00:13:52,249 --> 00:13:53,500
‐ Yeah.
‐ You know, "It's great.
318
00:13:53,500 --> 00:13:54,835
It's fine," you know.
319
00:13:55,252 --> 00:13:59,006
So we'd leave accidents a lot of the time.
‐ Yeah.
320
00:13:59,006 --> 00:14:01,717
Would the engineers ever fight back,
like, if you did something
321
00:14:01,717 --> 00:14:03,802
and didn't like the way the meters
were looking or anything like that?
322
00:14:03,802 --> 00:14:05,012
‐ In the beginning, yeah.
‐ Yeah.
323
00:14:05,012 --> 00:14:06,513
PAUL: Because they're trained...
RICK: Yeah.
324
00:14:06,513 --> 00:14:08,557
PAUL: ...by the record company
325
00:14:08,557 --> 00:14:10,058
to follow the meters.
326
00:14:10,058 --> 00:14:11,393
You're not supposed
to go in the red.
327
00:14:11,393 --> 00:14:13,103
RICK: Yeah.
PAUL: Obviously, you know.
328
00:14:13,103 --> 00:14:15,439
But we'd say, "No,
go in the red. Go in the red."
329
00:14:16,023 --> 00:14:18,609
'Cause it would make
the guitars, like, hot,
330
00:14:18,609 --> 00:14:21,862
make an acoustic guitar,
like, into an electric guitar.
331
00:14:21,862 --> 00:14:23,614
‐ Yeah.
‐ These days, it's not so easy.
332
00:14:23,614 --> 00:14:26,950
These older boards, you could defeat them.
333
00:14:26,950 --> 00:14:29,328
If we went into the red,
it would distort a bit.
334
00:14:29,328 --> 00:14:29,995
‐ Yeah.
335
00:14:29,995 --> 00:14:32,206
‐ Now they're rather good,
and they can handle it.
336
00:14:32,206 --> 00:14:32,998
‐ I see.
337
00:14:32,998 --> 00:14:34,249
‐ Which is a pity.
‐ Yeah.
338
00:14:34,249 --> 00:14:36,126
‐ Because, you know,
we used to love that.
339
00:14:36,960 --> 00:14:39,046
‐ Would you ever,
after recording a guitar song,
340
00:14:39,046 --> 00:14:42,549
decide to reinforce
the guitars with piano or‐‐
341
00:14:42,549 --> 00:14:43,842
‐ Yeah, sometimes. Yeah.
342
00:14:43,842 --> 00:14:45,427
Sometimes, it's really a good idea.
343
00:14:45,427 --> 00:14:47,054
Say you've got a little bass part.
344
00:14:47,054 --> 00:14:48,931
‐ Yeah.
‐ And the bass is doing a‐‐
345
00:14:49,515 --> 00:14:53,393
[humming]
346
00:14:53,393 --> 00:14:55,812
Then you can come‐‐
♪ playing piano ♪
347
00:14:55,812 --> 00:14:57,981
♪
348
00:14:57,981 --> 00:15:00,359
That combined
with a bass is a great sound.
349
00:15:00,359 --> 00:15:01,026
RICK: Yeah.
350
00:15:01,026 --> 00:15:03,403
PAUL: This gives it the punch.
RICK: Yeah.
351
00:15:03,403 --> 00:15:05,531
[Paul imitating drumbeat]
The attack.
352
00:15:05,531 --> 00:15:06,782
Yeah.
PAUL: Yeah.
353
00:15:06,782 --> 00:15:11,537
♪ playing up‐tempo music ♪
354
00:15:11,537 --> 00:15:15,582
♪
355
00:15:18,877 --> 00:15:19,837
Yeah.
356
00:15:20,587 --> 00:15:22,840
This reminds me a bit of the piano
357
00:15:22,840 --> 00:15:25,008
that's still there
in Abbey Road, actually.
358
00:15:25,008 --> 00:15:27,594
We used to call it Mrs. Mills' piano
359
00:15:27,594 --> 00:15:30,097
'cause there was a pianist
who did all this sort of‐‐
360
00:15:30,097 --> 00:15:31,265
♪ plays piano and hums ♪
361
00:15:31,265 --> 00:15:33,350
And you're like‐‐
[hums]
362
00:15:33,350 --> 00:15:35,227
I can't play it. Stride.
363
00:15:35,227 --> 00:15:39,106
♪ playing upbeat music ♪
364
00:15:39,106 --> 00:15:42,317
♪
365
00:15:45,195 --> 00:15:47,865
PAUL:
And Mrs. Mills' piano inspired that.
366
00:15:47,865 --> 00:15:48,824
‐ Hmm.
‐ You know?
367
00:15:48,824 --> 00:15:50,576
I mean, I wrote it at home.
‐ Yeah.
368
00:15:50,576 --> 00:15:54,246
‐ But it was like, "No, got to do this
on that funky little piano."
369
00:15:54,788 --> 00:15:56,331
And songs like that,
370
00:15:56,331 --> 00:15:58,959
um, I like to kind of change
my voice a bit.
371
00:15:59,418 --> 00:16:01,795
So I like to sort of get
a harder voice.
372
00:16:01,795 --> 00:16:04,882
[hard voice]
♪ Lady Madonna ♪
373
00:16:04,882 --> 00:16:06,800
Instead of...
[soft voice] ♪ Lady Madonna ♪
374
00:16:06,800 --> 00:16:08,802
So you're going...
[hard voice] ♪ Lady Madonna ♪
375
00:16:09,428 --> 00:16:11,221
♪ Children at your feet ♪
376
00:16:11,680 --> 00:16:16,185
♪ Wonder how you manage
to make ends meet ♪
377
00:16:16,185 --> 00:16:18,061
♪ Lady Madonna ♪
378
00:16:18,562 --> 00:16:19,605
♪ Yeah ♪
379
00:16:19,605 --> 00:16:21,106
‐ So the singer would be
the same guy
380
00:16:21,106 --> 00:16:22,900
who's playing that piano part,
makes sense.
381
00:16:22,900 --> 00:16:24,276
‐ Yeah.
‐ It's almost like a character study.
382
00:16:24,276 --> 00:16:25,235
‐ Yeah. Yeah.
383
00:16:25,694 --> 00:16:28,488
I‐I‐‐ It's one of the things
I'd like to do, you know.
384
00:16:29,573 --> 00:16:34,077
♪ instruments tuning on recording ♪
♪ vocalizing on recording ♪
385
00:16:34,077 --> 00:16:35,996
‐ Love that sound
of the tape starting.
386
00:16:35,996 --> 00:16:37,289
‐ Yeah. It's such a good sound.
387
00:16:37,289 --> 00:16:38,874
PAUL [on recording]:
...three, four.
388
00:16:38,874 --> 00:16:43,170
♪ Paul McCartney & Wings'
Band On The Run playing ♪
389
00:16:43,170 --> 00:16:44,713
[indiscernible talking]
390
00:16:46,965 --> 00:16:48,967
MAN [on recording]:
I sit and watch all the children.
391
00:16:49,760 --> 00:16:51,053
‐ Yeah.
‐ Walking by...
392
00:16:52,971 --> 00:16:54,515
They seem to say to me...
393
00:16:54,932 --> 00:16:57,226
I couldn't tell what she was thinking.
394
00:16:59,144 --> 00:17:00,145
But I knew
395
00:17:01,104 --> 00:17:02,731
it was through.
396
00:17:06,068 --> 00:17:10,906
‐ Yeah, my, my record label,
they've got studios everywhere, you know.
397
00:17:11,240 --> 00:17:13,325
Brazil. China.
398
00:17:13,825 --> 00:17:16,245
And I was into tenor guitar.
399
00:17:16,245 --> 00:17:19,748
[imitating guitar]
400
00:17:19,748 --> 00:17:21,083
Little sort of Africany thing.
401
00:17:21,542 --> 00:17:24,169
So I liked that,
so I just plunked for Lagos.
402
00:17:24,169 --> 00:17:25,379
Let's go there.
403
00:17:26,421 --> 00:17:27,798
Okay, now go, boy.
404
00:17:27,798 --> 00:17:32,094
PAUL [on recording]:
♪ Stuck inside these four walls ♪
405
00:17:33,762 --> 00:17:35,305
♪ Sent inside forever ♪
406
00:17:35,305 --> 00:17:37,724
‐ Really good vocal. It's a good vocal.
407
00:17:37,724 --> 00:17:39,685
‐ It's a nice, like, gentle little‐‐
408
00:17:39,685 --> 00:17:44,189
‐ ♪ Never seeing no one ♪
409
00:17:45,607 --> 00:17:49,653
♪ Nice again ♪
410
00:17:50,696 --> 00:17:53,657
♪ Like you ♪
411
00:17:54,408 --> 00:17:58,996
♪ Mama, you ♪
412
00:17:58,996 --> 00:18:00,622
‐ I'm drumming on this too.
413
00:18:01,832 --> 00:18:03,375
Couple of members of my band
414
00:18:03,375 --> 00:18:05,544
rang me up the night
before we were due to leave.
415
00:18:05,544 --> 00:18:06,837
They said, "We're not coming."
416
00:18:07,462 --> 00:18:08,714
For an hour or so, it was like,
417
00:18:08,714 --> 00:18:10,757
"Oh, what a bummer.
I don't believe it,"
418
00:18:10,757 --> 00:18:12,301
you know, "God," you know.
419
00:18:12,301 --> 00:18:16,638
And then a sort of
optimistic spirit came back,
420
00:18:16,638 --> 00:18:18,056
and I sort of thought,
421
00:18:18,056 --> 00:18:20,184
"You know what?
We're going to make a record."
422
00:18:20,184 --> 00:18:22,269
♪
423
00:18:22,269 --> 00:18:23,729
[indistinct]
424
00:18:24,646 --> 00:18:25,480
‐ Yeah.
425
00:18:27,608 --> 00:18:28,609
There was a little period
426
00:18:28,609 --> 00:18:32,321
when certain people
started writing, like, "rock opera."
427
00:18:32,321 --> 00:18:32,863
‐ Yeah.
428
00:18:32,863 --> 00:18:36,074
‐ It was kind of nice.
It was, like, different.
429
00:18:36,867 --> 00:18:38,285
So I thought I could have a go at it.
430
00:18:38,285 --> 00:18:44,124
♪ Band On the Run continues ♪
431
00:18:44,124 --> 00:18:47,503
♪
432
00:18:48,045 --> 00:18:50,255
‐ Is that a Moog?
‐ Yeah.
433
00:18:50,255 --> 00:18:52,758
‐ ♪ If I ever get out of here ♪
434
00:18:53,175 --> 00:18:55,719
♪ Thought of giving it all away ♪
435
00:18:56,094 --> 00:18:58,639
♪ To a registered charity ♪
436
00:18:59,014 --> 00:19:01,183
♪ All I need is a pint a day ♪
437
00:19:01,183 --> 00:19:03,644
♪ If I ever get outta here ♪
438
00:19:04,144 --> 00:19:06,813
♪ If we ever get outta here ♪
439
00:19:06,813 --> 00:19:11,235
♪
440
00:19:14,947 --> 00:19:19,535
♪ music crescendos ♪
441
00:19:19,535 --> 00:19:21,954
‐ Yeah, again,
unexpected twists and turns.
442
00:19:21,954 --> 00:19:23,539
‐ Yeah. Yeah.
‐ Cinematic.
443
00:19:23,539 --> 00:19:27,334
‐ ♪ Well, the rain exploded
with a mighty crash ♪
444
00:19:27,334 --> 00:19:30,003
♪ As we fell into the sun ♪
445
00:19:31,129 --> 00:19:35,217
♪ And the first one said
to the second one there ♪
446
00:19:35,217 --> 00:19:38,637
♪ "I hope you're having fun" ♪
447
00:19:39,096 --> 00:19:41,515
♪ Band on the run ♪
448
00:19:42,891 --> 00:19:45,435
♪ Band on the run ♪
449
00:19:45,435 --> 00:19:50,148
PAUL: So we went to Lagos where the studio
was just being kind of finished,
450
00:19:50,148 --> 00:19:51,608
but it was good.
451
00:19:51,608 --> 00:19:57,281
And I had with me the tapes
of all the songs for the album.
452
00:19:57,281 --> 00:19:57,948
‐ Mm‐hmm.
453
00:19:57,948 --> 00:20:01,034
‐ However, we were warned,
whatever you do,
454
00:20:01,034 --> 00:20:03,996
don't go out late
in certain areas.
455
00:20:04,454 --> 00:20:07,374
And, so of course,
we go to a friend's house,
456
00:20:07,374 --> 00:20:08,834
and we go out late at night.
457
00:20:09,459 --> 00:20:12,296
Hippies. We just
did not listen to anyone.
458
00:20:12,838 --> 00:20:14,047
So a car pulls up.
459
00:20:14,631 --> 00:20:16,175
The guy gets out of the car,
460
00:20:17,217 --> 00:20:20,429
and, and I go
into Liverpool mode.
461
00:20:20,429 --> 00:20:23,432
I go, "Oh, that is so nice of you."
462
00:20:23,432 --> 00:20:24,141
[Rick chuckles]
463
00:20:24,141 --> 00:20:26,226
"You're going to give us a lift.
No, get back in your car."
464
00:20:26,226 --> 00:20:28,312
So I bundle him back in the car.
‐ Yeah.
465
00:20:28,312 --> 00:20:31,064
Five of them jumped out the car,
one of them had a knife.
466
00:20:31,982 --> 00:20:34,318
Linda's, aah! Screaming at them.
467
00:20:34,318 --> 00:20:38,155
So they took all our stuff,
including my demos for Band On The Run.
468
00:20:38,155 --> 00:20:40,782
That was the only thing
I was really pissed about.
469
00:20:40,782 --> 00:20:41,533
‐ Yeah.
470
00:20:41,533 --> 00:20:45,287
‐ And so now we had to make
the album with just three of us,
471
00:20:45,287 --> 00:20:48,707
me, Linda, and Denny,
without the demo recordings.
472
00:20:48,707 --> 00:20:49,791
‐ Yes.
473
00:20:49,791 --> 00:20:52,002
‐ And so, again, we just thought,
474
00:20:52,002 --> 00:20:54,630
[sighs]
"Right, let's do this."
475
00:20:54,630 --> 00:20:57,341
And we just became determined
476
00:20:57,341 --> 00:21:01,470
to, to make it a... a good record.
477
00:21:01,470 --> 00:21:04,014
‐ ♪ Yeah, the band on the run ♪
478
00:21:05,265 --> 00:21:07,684
♪ Band on the run ♪
479
00:21:09,520 --> 00:21:13,524
‐ Do you feel like by going there,
it impacted the album?
480
00:21:13,524 --> 00:21:15,192
‐ I was kind of half wondering
481
00:21:15,192 --> 00:21:18,987
whether we'd pick up
a lot of African vibes
482
00:21:18,987 --> 00:21:20,906
and maybe musicians,
483
00:21:20,906 --> 00:21:22,449
bit Graceland thing, you know.
‐ Yeah.
484
00:21:22,449 --> 00:21:24,576
‐ Um, but we didn't.
485
00:21:24,576 --> 00:21:28,038
The only thing happened was
I went to see Fela Kuti.
486
00:21:28,580 --> 00:21:30,874
♪ singing ITT
[International Thief Thief] ♪
487
00:21:30,874 --> 00:21:31,792
‐ ♪ Long time ago ♪
488
00:21:31,792 --> 00:21:34,127
‐ ♪ Na for them culture
to carry shit ♪
489
00:21:34,127 --> 00:21:35,462
‐ ♪ Long time ago ♪
490
00:21:35,462 --> 00:21:37,631
‐ ♪ During the time
them come colonize us ♪
491
00:21:37,631 --> 00:21:38,966
‐ ♪ Long time ago ♪
492
00:21:38,966 --> 00:21:41,176
‐ ♪ Them come teach us
to carry shit ♪
493
00:21:41,176 --> 00:21:42,469
‐ ♪ Long time ago ♪
494
00:21:42,469 --> 00:21:44,596
‐ ♪ Long, long, long, long time ago ♪
495
00:21:44,596 --> 00:21:46,056
‐ ♪ Long time ago ♪
496
00:21:46,056 --> 00:21:49,852
♪
497
00:21:54,314 --> 00:21:56,149
PAUL: This was at the Afrika Shrine,
498
00:21:56,859 --> 00:21:59,528
which was his club outside Lagos.
RICK: Yeah.
499
00:22:00,404 --> 00:22:03,866
‐ You're sitting right by him.
Front row seats.
500
00:22:03,866 --> 00:22:04,992
‐ Yeah.
501
00:22:04,992 --> 00:22:07,077
What was the energy
in the room like?
502
00:22:07,077 --> 00:22:08,453
‐ The energy was great.
It was all‐‐
503
00:22:08,453 --> 00:22:10,122
‐ Were people dancing or‐‐
‐ Yeah.
504
00:22:10,122 --> 00:22:11,039
‐ Yeah.
‐ Yeah.
505
00:22:11,039 --> 00:22:14,793
When he came on
and his band kicked in, whoa.
506
00:22:14,793 --> 00:22:16,795
I still remember the riff.
507
00:22:16,795 --> 00:22:19,965
♪ playing ITT on piano ♪
508
00:22:19,965 --> 00:22:23,051
♪
509
00:22:30,517 --> 00:22:31,351
‐ So cool.
510
00:22:32,102 --> 00:22:33,395
‐ And his whole band kicked in.
511
00:22:33,395 --> 00:22:38,609
♪
512
00:22:39,693 --> 00:22:41,486
So there was Fela at the front
513
00:22:41,486 --> 00:22:43,530
with a little [indiscernible] piano.
514
00:22:44,281 --> 00:22:48,118
And the middle, at the back,
he's got two conga players.
515
00:22:48,577 --> 00:22:50,412
They're like the rhythm box.
RICK: Yeah.
516
00:22:50,412 --> 00:22:53,415
‐ They're just going...
[imitating congas]
517
00:22:53,415 --> 00:22:54,708
They're keeping that same rhythm.
518
00:22:55,334 --> 00:22:58,212
This side and that side, like stereo,
519
00:22:58,212 --> 00:23:01,298
and he's got the shakers...
[imitating shakers]
520
00:23:02,883 --> 00:23:04,885
And the drummer, he would go‐‐
521
00:23:04,885 --> 00:23:08,514
[imitating drums]
522
00:23:08,514 --> 00:23:09,640
RICK: Fills.
523
00:23:09,640 --> 00:23:11,308
‐ Kind of fills.
‐ Yeah. Yeah.
524
00:23:11,308 --> 00:23:12,434
PAUL: Two guitars.
525
00:23:12,434 --> 00:23:14,102
One's the tenor guitar,
526
00:23:14,102 --> 00:23:16,355
and the other one's
a little bit more lead guitar.
527
00:23:16,813 --> 00:23:17,981
Then he's got his sax section.
528
00:23:18,774 --> 00:23:19,983
[imitating sax]
529
00:23:19,983 --> 00:23:23,529
♪
530
00:23:23,529 --> 00:23:27,533
The music was so incredible that I wept,
531
00:23:28,784 --> 00:23:30,786
just when it hit on the groove.
532
00:23:30,786 --> 00:23:35,791
♪
533
00:23:38,836 --> 00:23:42,548
That was one of the greatest
music moments in my life.
534
00:23:42,548 --> 00:23:45,217
‐ Yeah. Yeah. It sounds incredible.
‐ Hearing that song live.
535
00:23:47,636 --> 00:23:48,804
‐ Beautiful.
536
00:23:48,804 --> 00:23:50,722
I'm going to play something else,
537
00:23:50,722 --> 00:23:52,641
a very different energy.
538
00:23:53,892 --> 00:23:55,310
[Paul humming]
539
00:23:55,310 --> 00:23:57,437
‐ What you got now?
‐ I've got this one.
540
00:23:59,189 --> 00:24:00,524
It will be fun to hear.
541
00:24:02,150 --> 00:24:04,069
PAUL [on recording]:
♪ Don't go ♪
542
00:24:04,069 --> 00:24:08,490
♪ Jumping waterfalls ♪
543
00:24:09,366 --> 00:24:14,913
♪ Please keep to the lake ♪
544
00:24:14,913 --> 00:24:16,623
‐ It's a pretty little song this. Yeah.
545
00:24:17,541 --> 00:24:19,251
He said modestly.
[Rick chuckles]
546
00:24:19,251 --> 00:24:22,004
‐ ♪ People who jump waterfalls ♪
547
00:24:22,004 --> 00:24:27,968
♪ Sometimes can make mistakes ♪
548
00:24:29,011 --> 00:24:31,263
♪ And I need love ♪
549
00:24:31,263 --> 00:24:34,975
‐ This is also, even though
it's not an electronic song,
550
00:24:34,975 --> 00:24:37,603
this melody is very today.
551
00:24:37,603 --> 00:24:39,646
This is a very modern melody.
‐ You think so?
552
00:24:39,646 --> 00:24:40,939
‐ I know so.
553
00:24:40,939 --> 00:24:43,442
It's like un‐‐ It doesn't‐‐
554
00:24:43,442 --> 00:24:45,986
This sounds like
you could hear this now
555
00:24:46,820 --> 00:24:48,405
in an unusual way.
556
00:24:49,364 --> 00:24:52,868
‐ ♪ And it wouldn't be the same ♪
557
00:24:52,868 --> 00:24:55,996
♪ If you ever should decide ♪
558
00:24:56,413 --> 00:25:00,334
♪ To go away ♪
559
00:25:01,001 --> 00:25:04,671
♪
560
00:25:05,172 --> 00:25:08,634
‐ It kind of did get lost
on the album,
561
00:25:08,634 --> 00:25:12,387
but sort of deep fans know that one.
‐ Yeah.
562
00:25:12,387 --> 00:25:14,765
Yes.
‐ And often write to me about it.
563
00:25:15,349 --> 00:25:18,685
‐ Yeah, yeah.
‐ I think I slightly regretted
564
00:25:18,685 --> 00:25:21,104
that the strings on it
565
00:25:21,104 --> 00:25:23,732
are just a little weedy,
synth little things.
566
00:25:23,732 --> 00:25:25,609
‐ I think that might be part
what makes it modern, though.
567
00:25:25,609 --> 00:25:27,110
‐ Maybe. Well‐‐
568
00:25:27,110 --> 00:25:28,737
‐ Do you know, it's like‐‐
I don't know. It's the‐
569
00:25:28,737 --> 00:25:30,656
‐ Hey, you know,
the thing is I can have regrets.
570
00:25:30,656 --> 00:25:31,698
They don't have to be right.
571
00:25:31,698 --> 00:25:33,367
[Rick laughs]
Do you know what I'm saying?
572
00:25:33,367 --> 00:25:35,619
I think all of us, we go,
"Oh, we should've done that."
573
00:25:35,619 --> 00:25:37,079
‐ Yeah.
‐ Somebody else will say, "No.
574
00:25:37,829 --> 00:25:39,957
You don't need to. That‐that's fine."
So...
575
00:25:39,957 --> 00:25:42,918
‐ But I don't see you as someone,
as having a lot of regrets,
576
00:25:42,918 --> 00:25:44,336
looking back on music that you made.
577
00:25:44,336 --> 00:25:45,462
‐ Not really. No.
578
00:25:46,505 --> 00:25:47,881
Forge ahead.
579
00:25:47,881 --> 00:25:49,091
‐ Yeah.
‐ Constantly.
580
00:25:49,424 --> 00:25:50,425
And, um,
581
00:25:51,426 --> 00:25:52,636
well, that's what I love.
582
00:25:53,428 --> 00:25:55,097
That's what I love about it.
‐ Yeah.
583
00:25:55,097 --> 00:25:56,974
‐ Music. Life.
584
00:25:57,724 --> 00:26:01,186
That there's, there's always
that next little song...
585
00:26:01,186 --> 00:26:02,020
‐ Yeah.
586
00:26:02,020 --> 00:26:05,190
‐ that you can be
thinking about or writing.
587
00:26:05,566 --> 00:26:07,693
♪ soft melody ♪
588
00:26:07,693 --> 00:26:09,361
You know, I'm writing
a thing at the moment.
589
00:26:09,361 --> 00:26:12,865
♪ mid‐tempo music playing ♪
590
00:26:12,865 --> 00:26:15,450
♪
591
00:26:15,450 --> 00:26:16,285
RICK: Oh.
592
00:26:18,245 --> 00:26:19,037
That's great.
593
00:26:19,580 --> 00:26:20,455
That's great.
594
00:26:20,455 --> 00:26:22,416
♪
595
00:26:28,839 --> 00:26:30,549
‐ ♪ Life can be hard ♪
596
00:26:31,675 --> 00:26:32,801
♪ But then ♪
597
00:26:32,801 --> 00:26:34,678
‐ So good.
‐ ♪ That's when we start ♪
598
00:26:35,262 --> 00:26:38,182
♪ To put it together again ♪
599
00:26:39,474 --> 00:26:41,101
♪ She leads me on ♪
600
00:26:41,101 --> 00:26:42,227
‐ Yeah.
601
00:26:42,227 --> 00:26:45,856
‐ ♪ And I'm enchanted
by her beauty ♪
602
00:26:45,856 --> 00:26:49,610
♪
603
00:26:49,610 --> 00:26:50,402
‐ Yeah.
604
00:26:52,154 --> 00:26:53,238
Incredible.
605
00:26:53,238 --> 00:26:54,823
‐ Oh good, man. Oh great.
‐ Really good.
606
00:26:54,823 --> 00:26:57,826
‐ I goofed it a bit, but‐‐
‐ No, but it sounds like it‐‐
607
00:26:57,826 --> 00:27:00,078
The beauty of it is,
when I hear it, it sounds like,
608
00:27:00,078 --> 00:27:02,039
"Oh, this is a song
that's always been around."
609
00:27:02,039 --> 00:27:04,041
You know like it‐‐ In a good way.
‐ Like "You know this one."
610
00:27:04,041 --> 00:27:05,751
‐ But not in a way that
I've actually heard it before,
611
00:27:05,751 --> 00:27:08,754
but in a, like, "Oh yeah,
this is like one of those songs
612
00:27:08,754 --> 00:27:10,130
that feels like it's in the air."
613
00:27:10,130 --> 00:27:11,548
‐ Yeah.
‐ Do you know what I mean?
614
00:27:11,548 --> 00:27:13,634
‐ That's what I've sort of done
all my life.
615
00:27:13,634 --> 00:27:15,636
That's what I'm still doing.
‐ Yeah. Yeah.
616
00:27:15,636 --> 00:27:19,556
‐ Just trying to discover just
a little thing that sounds nice.
617
00:27:20,224 --> 00:27:22,226
Someone said Mozart once said,
618
00:27:22,226 --> 00:27:24,520
"I write the notes
that like each other."
619
00:27:25,771 --> 00:27:27,189
And I like that.
‐ Yeah.
620
00:27:27,189 --> 00:27:29,233
‐ I like that. Sounds good to me. [laughs]
‐ Yeah. Yeah.
621
00:27:30,067 --> 00:27:32,945
♪ playing Blackbird ♪
622
00:27:33,987 --> 00:27:38,575
♪
623
00:27:38,575 --> 00:27:43,121
♪ Blackbird singing
in the dead of night ♪
624
00:27:43,121 --> 00:27:47,084
♪ Take these broken wings
and learn to fly ♪
625
00:27:48,377 --> 00:27:51,505
♪ All your life ♪
626
00:27:52,214 --> 00:27:57,469
♪ You were only waiting
for this moment to arise ♪
627
00:27:57,469 --> 00:28:01,265
♪
628
00:28:02,474 --> 00:28:06,270
♪ Blackbird singing
in the dead of night ♪
629
00:28:07,020 --> 00:28:11,275
♪ Take these sunken eyes
and learn to see ♪
630
00:28:12,234 --> 00:28:15,279
♪ All your life ♪
631
00:28:16,071 --> 00:28:21,076
♪ You were only waiting
for this moment to be free ♪
632
00:28:21,076 --> 00:28:25,873
♪ Blackbird fly ♪
633
00:28:26,248 --> 00:28:30,586
♪ Blackbird fly ♪
634
00:28:30,586 --> 00:28:34,548
♪ Into the light
of the dark black night ♪
635
00:28:34,548 --> 00:28:37,467
♪
636
00:28:40,095 --> 00:28:45,976
[humming]
637
00:28:45,976 --> 00:28:51,315
♪
638
00:28:51,315 --> 00:28:52,316
PAUL: Yeah, right, I know.
639
00:28:53,317 --> 00:28:54,318
[chuckles]
640
00:28:56,904 --> 00:28:58,322
Okay, man, great.
641
00:28:58,822 --> 00:29:02,910
♪
642
00:29:02,910 --> 00:29:04,661
♪ Night ♪
[static cuts out]
643
00:29:04,661 --> 00:29:09,333
♪ Blackbird resumes ♪
644
00:29:09,333 --> 00:29:13,670
♪
645
00:29:18,675 --> 00:29:23,222
♪ Blackbird fly ♪
646
00:29:23,722 --> 00:29:27,976
♪ Blackbird fly ♪
647
00:29:27,976 --> 00:29:31,855
♪ Into the light
of the dark black night ♪
648
00:29:31,855 --> 00:29:34,942
♪
649
00:29:35,776 --> 00:29:40,447
♪ Blackbird singing
in the dead of night ♪
650
00:29:40,447 --> 00:29:43,867
♪ Take these broken wings
and learn to fly ♪
651
00:29:45,661 --> 00:29:48,830
♪ All your life ♪
652
00:29:49,540 --> 00:29:54,211
♪ You were only waiting
for this moment to arise ♪
653
00:29:54,586 --> 00:30:00,342
♪ You were only waiting
for this moment to arise ♪
45098
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