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♪ electric guitar playing ♪
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♪
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♪
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PAUL MCCARTNEY: For us,
the worst thing was to be bored.
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We're young, 20‐year‐olds,
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um, and we've already got
some success.
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So we've got
the excitement of youth
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and the sort of speed of youth.
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‐ Yeah.
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‐ And a lot of the engineers
had come up with us.
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‐ Yeah.
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‐ So they knew
how stupid we were
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and how cheeky we were
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and how, you know,
ambitious we were
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and it rubbed off.
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‐ Yeah.
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‐ You know, saying to them,
"Come on. More of this.
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More of this.
More of this. More‐‐"
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And he'd kind of, you know,
they'd get a little look on their face
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like we're all naughty boys
in the studio.
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We're going to actually break
a few rules here.
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‐ Yeah.
‐ And if it worked, we'd go...
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‐ Yeah.
‐ "Yes."
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JOHN LENNON: Two, three, four.
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‐ ♪ He's a real nowhere man ♪
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♪ Sitting in his nowhere land ♪
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♪ Making all his nowhere plans ♪
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♪ For nobody ♪
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♪ He's as blind as he can be ♪
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♪ Just sees what he wants to see ♪
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♪ Nowhere man,
can you see me at all? ♪
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PAUL: Remember the song
called Nowhere Man?
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We wanted like a really cutting
electric guitar sound.
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So George did it once
on a very cutting tone.
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His amp was full treble
and his guitar was...
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sounded pretty good.
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We thought we wanted
to try and push it,
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so the engineers sort of put
full treble on it.
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And we said,
"No. Can you do more?"
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They said,
"Well, no, that‐‐ that's it."
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Said, "Well, what about
if you took that..."
‐ Yeah.
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‐ "...and put it over
to this set of EQs.
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Couldn't you do‐‐ do it all again?"
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‐ Wow.
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‐ And they'd go,
"Well, you know, [mumbling]."
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So we'd have them go
through a few channels.
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‐ Wow.
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‐ Each time
putting this treble on it.
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It's a nice sound, though.
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♪ Nowhere Man continues ♪
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♪
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RICK RUBIN:
Where do you think the confidence
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to ask for that came from?
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‐ I think just gradually with the success
of The Beatles records.
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‐ Yeah. Yeah.
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‐ We started to have
a bit more freedom
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and allow ourselves more freedom,
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and George Martin
allowed us more freedom.
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So we could then kind of push
the envelope a bit.
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♪ Maxwell's Silver Hammer playing ♪
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♪
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PAUL [on recording]:
♪ Joan was quizzical ♪
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♪ Studied pataphysical science
in the home ♪
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♪ Late nights all alone
with a test tube ♪
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‐ The first thing
that's fascinating about it
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is that that sounds
really more like a horn.
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‐ Tuba.
‐ Yeah, a tuba.
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[imitating tuba]
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‐ Yeah, I think I was trying
to get that effect just playing‐‐
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‐ How do you do that?
‐ Well, you play it very short.
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[imitating tuba]
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You don't let the bass ring on,
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which a tuba‐‐
‐ Yeah.
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[imitating tuba]
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It really sounds like that.
I mean, it's remarkable.
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‐ Well, I think, you know, the character
of the song is kind of‐‐
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‐ Yeah.
‐ A parody.
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‐ Yeah.
‐ You know?
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‐ So let's see what we have here.
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♪ synth playing ♪
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What... what instrument was that?
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‐ That's Moog.
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‐ Really?
‐ And that was‐‐
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Robert Moog was there.
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One of the great things
about working at Abbey Road was,
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uh, they were at
the forefront of technology.
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So, one day we were just told
that there was this guy
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called Robert Moog
in one of the upper rooms,
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and he'd got a load
of equipment in there.
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NARRATOR: All these instrumental sounds
were made electronicall y
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on a single musical instrument.
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It's called
the Moog synthesizer.
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It produces sounds
in a matter of minutes,
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which would normally take
radio phonic experts,
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with their complicated equipment,
days of work
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and multiple re‐recording to achieve.
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♪
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‐ This was the whole wall.
‐ Wow.
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‐ It's like an ancient computer,
you know.
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It was the whole wall
filled with stuff,
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and he was just showing us
all the various filters and that.
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So I was just messing around
and I thought,
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"I've got to use that
on something."
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So I thought, "Well, this is okay.
You could use it,"
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because it's, it's kinda,
it's quite tongue in cheek.
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‐ Yeah.
‐ So‐‐
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‐ It's also interesting
'cause it's such a, uh,
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I'll say, traditional style song...
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‐ Yeah.
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‐ ...rooted in the past,
yet it's a really modern instrument.
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‐ We did a bit of that.
‐ Yeah.
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‐ You do one style
and then juxtapose it with another,
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and the sum of the parts
was okay.
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‐ Yeah, new.
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♪ Maxwell's Silver Hammer continues ♪
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‐ ♪ Bang! Bang!
Maxwell's silver hammer came down ♪
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♪ Upon her head ♪
‐ ♪ Do, doo, doo, doo ♪
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‐ ♪ Bang! Bang! ♪
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RICK: Anvil?
‐ Bang, bang.
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That was our roadie, Mal. Yeah.
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We had a‐‐ We wanted
the sound of an anvil.
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‐ Yeah.
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‐ So, you know,
now you sort of dial it up.
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♪
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But then you had
to get an anvil.
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So we got this bloody great
blacksmith's anvil,
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and he hit it with a hammer.
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‐ Hard to get it in there?
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‐ Yeah.
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‐ They're heavy.
‐ He was a big boy.
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‐ They're really heavy.
‐ He was a big boy.
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‐ Yeah.
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So I think you played a lot
of the instruments on this one.
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‐ Yeah. I was wondering
about the piano though,
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'cause there's these arpeggios,
it's a bit flash for me.
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[imitating piano notes]
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Makes me think that was George Martin.
‐ Ah.
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‐ Because, you know, I can play piano,
but I'm not that good.
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George‐‐
RICK: Would he sit in and play sometimes?
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PAUL: Yeah, if we wanted anything
that was a little bit difficult.
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George Martin
was like our teacher,
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just because of the age.
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He was a little bit older.
It wasn't much.
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I mean, I think we always thought
of him as an old man.
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I think he was like probably 30
when he started with us
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which I certainly
don't think of as old now.
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But it was a great team thing,
you know.
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We were going in the studio,
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George Martin
might not even know
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what we were going
to come up with.
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‐ Yeah.
‐ We'd come up with it.
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And then by knocking it around,
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we'd have a Beatle record,
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rather than just this little song
that we'd come in with.
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You know, you'd write it just as
the keyboard and the vocal.
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That's, that's me writing...
‐ Yeah.
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[indistinct dialogue]
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♪ Maxwell's Silver Hammer playing ♪
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‐ Pretty much like this.
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‐ See that's how
I would write it. Yeah.
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‐ ♪ Upon her head ♪
‐ ♪ Do doo doo do doo ♪
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‐ And then you get in the studio
and you make up
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all the little vocal things,
all the guitar lines.
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Or because Mr. Moog was upstairs...
‐ Yeah.
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‐ ...you'd grab his Moog.
‐ Yeah.
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♪ synth music playing ♪
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‐ Gets a bit funky.
‐ Yeah.
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♪
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Guitar in this one too.
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‐ A little bit of glide.
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‐ Bit of acoustic.
‐ This, yeah.
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♪ piano music playing ♪
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That's not me.
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The way I could do it,
which I don't think this is,
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would be to slow the tape by half,
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'cause the great thing
about four track machines
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is if you take it down,
you take it down by an octave.
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‐ Hm.
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‐ So the arpeggio, you know,
it might just be‐‐
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♪ plays slow melody ♪
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You know?
‐ And then you'd speed it up?
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‐ I'd be able to do that,
but then it'd become‐‐
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♪ plays quick melody ♪
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‐ And you'd play it an octave lower
than you want to hear it?
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‐ And you played an octave lower.
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That was always
a great experimental thing.
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Just with one flick of the wrist.
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Boom, boom.
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So we used that
quite a lot, that feature.
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A Hard Day's Night,
there's a great guitar solo.
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♪ A Hard Day's Night playing ♪
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Half speed, straight up.
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♪
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Regular. It's‐‐
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It's up the octave.
‐ Wow.
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♪
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You can hear the effect.
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‐ Incredible.
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But that would have been
too fast to play.
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‐ Yeah. Yeah. I mean,
and get it really accurate.
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‐ ♪ Everything seems to be right ♪
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PAUL: And also, these were
the great, fun experiments.
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‐ Yeah.
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‐ You'd sort of say, "Well, ah,
if George is having trouble‐‐"
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[imitating guitar riff]
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You go,
"Okay, wait a minute. Let's think."
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So George Martin
would probably say,
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"Look, if we took it half speed‐‐"
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[imitating slow guitar chords]
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So you can hear that
and then it comes back up
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and it's got a ringy,
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it's got a slightly
synthetic sound to it.
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Sounds like George might've‐‐
‐ It's also cool.
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‐ Yeah. That's‐‐ I mean,
well, we loved all of that.
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It was like being professors
in a laboratory.
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We were just discovering
all these little things.
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♪ A Hard Day's Night playing ♪
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00:09:09,216 --> 00:09:13,762
♪
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00:09:14,471 --> 00:09:16,348
And the chord at the front‐‐
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♪ opening guitar chord ♪
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‐ ♪ It's been a hard day's night ♪
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00:09:22,312 --> 00:09:25,315
♪ And I've been working
like a dog ♪
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♪ It's been a hard day's night ♪
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PAUL: George Martin
was helping on film music.
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00:09:32,239 --> 00:09:32,781
RICK: Yeah.
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00:09:32,781 --> 00:09:35,117
‐ So because this was
the opening to this film.
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00:09:35,117 --> 00:09:36,994
‐ Yeah.
‐ The Beatles' first film,
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00:09:36,994 --> 00:09:38,954
bang, we'd do the chord,
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00:09:38,954 --> 00:09:40,205
but he augmented it.
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You can see he's thinking film.
‐ Yeah.
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‐ Bang!
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George Martin
was very interesting.
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00:09:49,089 --> 00:09:52,301
He'd been in the Fleet Air Arm,
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which was the Navy Air Force.
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We said, "What did you do,
fly the plane?"
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He said, "No."
"Did you navigate?" "No."
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00:10:00,767 --> 00:10:03,145
"Were you the tail gunner?" "No."
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It turned out,
he was a producer.
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‐ Always.
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00:10:07,649 --> 00:10:08,734
‐ Kind of.
‐ Yeah.
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00:10:08,734 --> 00:10:11,403
‐ He was putting the package together.
‐ Wow.
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00:10:11,403 --> 00:10:16,325
‐ And then he talked to us about
sort of quasi‐scientific things.
243
00:10:16,325 --> 00:10:18,410
‐ Yeah.
‐ So he had a little board.
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00:10:18,410 --> 00:10:20,078
It was an oscillator,
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00:10:20,078 --> 00:10:23,373
and he could generate
various pitches.
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00:10:23,373 --> 00:10:24,374
So he'd start‐‐
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[low whistle]
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00:10:26,043 --> 00:10:28,170
And then he'd say,
"You hear that?" We'd go, "Yeah."
249
00:10:28,170 --> 00:10:30,088
He'd go...
[whistle intensifies]
250
00:10:30,088 --> 00:10:31,215
"You hear that?"
We'd go, "Yeah."
251
00:10:31,215 --> 00:10:32,257
[whistle intensifies]
252
00:10:32,257 --> 00:10:33,133
"Yeah."
253
00:10:33,509 --> 00:10:34,968
[whistle intensifies]
254
00:10:35,219 --> 00:10:37,221
He said, "Now here,
where I'm going now,
255
00:10:37,221 --> 00:10:38,514
where none of us can hear it..."
256
00:10:38,514 --> 00:10:39,348
‐ Yeah.
‐ He said,
257
00:10:39,348 --> 00:10:40,766
"But dogs can hear this."
258
00:10:40,766 --> 00:10:41,558
‐ Wow.
259
00:10:41,558 --> 00:10:44,269
‐ We were doing Sgt. Pepper
around about that time, so we said,
260
00:10:44,269 --> 00:10:47,314
"Okay, we've got to have
that pitch on the thing,"
261
00:10:47,314 --> 00:10:50,400
'cause we wanted it to come in
and a dog in some room go,
262
00:10:51,235 --> 00:10:53,195
"What's that?"
[both laugh]
263
00:10:53,195 --> 00:10:54,905
So we put that. It is there somewhere.
264
00:10:54,905 --> 00:10:55,739
‐ It is?
‐ I can't hear it.
265
00:10:55,739 --> 00:10:57,241
‐ Yeah, yeah, yeah.
We have to do a dog test.
266
00:10:57,241 --> 00:10:59,368
‐ That's why dogs love Sgt. Pepper.
267
00:10:59,368 --> 00:11:01,787
But he'd tell us
these stories and stuff.
268
00:11:01,787 --> 00:11:05,624
So you knew that you could talk
to George about these things.
269
00:11:05,624 --> 00:11:08,752
"George, what if we
played it backwards
270
00:11:08,752 --> 00:11:10,379
and then what if we did that?"
271
00:11:11,171 --> 00:11:13,549
"Well..." and he'd sort of,
he'd go along with it.
272
00:11:13,549 --> 00:11:14,466
‐ Yeah.
273
00:11:14,466 --> 00:11:16,927
‐ 'Cause there were a lot
of other producers on EMI.
274
00:11:16,927 --> 00:11:18,220
I'm sure they would've just said,
275
00:11:19,304 --> 00:11:20,264
"Another time.
276
00:11:20,806 --> 00:11:22,307
Let's get the record done,"
you know.
277
00:11:23,100 --> 00:11:26,562
And, and wouldn't have been interested
in backwards noises
278
00:11:26,562 --> 00:11:27,813
or tape loops.
279
00:11:28,230 --> 00:11:32,234
♪ warbled music playing ♪
280
00:11:32,234 --> 00:11:36,572
I had an old tape recorder
that you could put‐‐ make a loop.
281
00:11:37,197 --> 00:11:39,241
Instead of the two reels of tape...
RICK: Mm‐hmm.
282
00:11:39,241 --> 00:11:42,244
PAUL: ...you could make a little loop
that would go round and round and round.
283
00:11:42,703 --> 00:11:45,330
There's a little button
that says super impose.
284
00:11:45,330 --> 00:11:49,042
It keeps recording forever and ever
and ever and ever and ever.
285
00:11:49,042 --> 00:11:50,794
So once you've gone round,
286
00:11:51,753 --> 00:11:54,047
what was there is still there
287
00:11:54,047 --> 00:11:55,757
but it's now going
in the background a bit.
288
00:11:56,633 --> 00:11:58,510
RICK: There's always
a random aspect to this
289
00:11:58,510 --> 00:12:00,762
because you don't really have
control of the rhythm.
290
00:12:00,762 --> 00:12:02,764
PAUL: Yeah. Yeah, absolutely.
291
00:12:02,764 --> 00:12:05,184
It's a bit of an art 'cause
you got to know when to stop.
292
00:12:05,184 --> 00:12:07,227
‐ Yeah.
‐ 'Cause you kind of go‐‐
293
00:12:07,227 --> 00:12:09,354
[imitating guitar riff]
294
00:12:14,985 --> 00:12:17,905
And, you know, you've got
to sort of stop soon
295
00:12:17,905 --> 00:12:20,866
because otherwise you wiped out
those two original ideas.
296
00:12:20,866 --> 00:12:21,575
‐ Yeah.
297
00:12:21,575 --> 00:12:23,327
‐ But when you set it
against the band‐‐
298
00:12:23,327 --> 00:12:26,163
♪ Tomorrow Never Knows playing ♪
299
00:12:26,163 --> 00:12:27,456
‐ It sounds like it's played.
‐ Yeah.
300
00:12:27,456 --> 00:12:30,125
♪
301
00:12:35,589 --> 00:12:37,591
JOHN [on recording]:
♪ That love is all ♪
302
00:12:37,591 --> 00:12:41,220
♪ And love is everyone ♪
303
00:12:41,220 --> 00:12:42,596
‐ One chord.
304
00:12:42,596 --> 00:12:46,016
♪ It is believing ♪
305
00:12:46,016 --> 00:12:48,227
‐ And then we put
that other chord in there.
306
00:12:50,062 --> 00:12:52,564
‐ But, but the drone chord
is still going.
307
00:12:52,564 --> 00:12:53,106
‐ Yeah.
308
00:12:53,106 --> 00:12:56,777
‐ ♪ ...color of your dreams ♪
309
00:12:57,694 --> 00:13:00,072
♪
310
00:13:00,072 --> 00:13:01,740
‐ Cool drum there.
311
00:13:01,740 --> 00:13:05,244
‐ ♪ It is not living ♪
312
00:13:05,244 --> 00:13:07,621
‐ You know, I think we have
an alternate version here.
313
00:13:07,621 --> 00:13:09,331
Let's just hear
what was different.
314
00:13:09,331 --> 00:13:13,460
♪
315
00:13:16,213 --> 00:13:18,131
‐ Now that's alternative.
316
00:13:18,715 --> 00:13:19,550
That's cool.
317
00:13:19,550 --> 00:13:21,718
♪
318
00:13:21,718 --> 00:13:23,262
‐ Different beat.
‐ Yeah.
319
00:13:24,847 --> 00:13:27,099
Still pretty slow, if you ask me.
320
00:13:27,099 --> 00:13:29,268
‐ ♪ Turn off your mind ♪
321
00:13:29,268 --> 00:13:33,355
♪ Relax and float down‐stream ♪
322
00:13:34,398 --> 00:13:37,067
♪ It is not dying ♪
323
00:13:37,067 --> 00:13:40,153
‐ So that might've been on the way
to finding the sound?
324
00:13:40,153 --> 00:13:42,030
‐ I think it must've been. Yeah.
325
00:13:42,030 --> 00:13:43,782
‐ And would that happen
relatively quickly?
326
00:13:43,782 --> 00:13:45,576
Like, you'd have played it
this first way‐‐
327
00:13:45,576 --> 00:13:47,244
‐ Yeah, I think so.
You know, um,
328
00:13:47,244 --> 00:13:49,413
as time went on,
we had much more freedom.
329
00:13:49,413 --> 00:13:50,873
We had much longer to do things.
330
00:13:51,415 --> 00:13:55,711
But it actually spurred us on
to do some new stuff.
331
00:13:55,711 --> 00:13:56,336
‐ Yeah. Yeah.
332
00:13:56,336 --> 00:13:59,923
‐ So, I mean, the drum sound
on this is, I love it.
333
00:13:59,923 --> 00:14:02,759
‐ Yes.
‐ It's a really great Ringo sound.
334
00:14:02,759 --> 00:14:07,848
‐ ♪ That ignorance and haste
may mourn the dead ♪
335
00:14:09,725 --> 00:14:12,978
♪ It is believing ♪
336
00:14:13,645 --> 00:14:16,773
♪ It is believing ♪
337
00:14:16,773 --> 00:14:18,442
♪
338
00:14:19,359 --> 00:14:21,862
PAUL: Ringo's a very funny guy.
339
00:14:21,862 --> 00:14:23,488
And he used to say these,
340
00:14:24,031 --> 00:14:26,241
I don't know if
it's malapropisms or whatever,
341
00:14:26,241 --> 00:14:29,536
but he had an aptitude
for just saying something
342
00:14:29,536 --> 00:14:32,623
a little bit wrong, you know,
but it sounded right.
343
00:14:32,998 --> 00:14:35,459
Me and John would go,
"What'd he say?"
344
00:14:35,459 --> 00:14:37,753
"Yeah, he said
hard day's night."
345
00:14:37,753 --> 00:14:39,922
"I don't believe it.
That's great."
346
00:14:40,380 --> 00:14:44,259
He wanted to order
sliced bread for toast somewhere
347
00:14:44,259 --> 00:14:46,261
so he said,
"Can I have some slight bread?"
348
00:14:46,929 --> 00:14:49,306
We never used that one,
but it was still good.
349
00:14:49,306 --> 00:14:50,891
It was a Ringo‐ism, you know.
350
00:14:51,308 --> 00:14:53,101
"Well, I don't know. What are we
going to do about this?"
351
00:14:53,101 --> 00:14:55,687
He said, "Well, I don't know.
Tomorrow never knows."
352
00:14:56,730 --> 00:14:58,232
That was one of his.
‐ Yeah.
353
00:14:58,232 --> 00:15:00,484
‐ I mean, now, you know,
you say a hard day's night
354
00:15:00,484 --> 00:15:02,653
and people sort of,
"Oh yeah, I get it."
355
00:15:02,653 --> 00:15:03,946
It sounds like‐‐
356
00:15:03,946 --> 00:15:05,239
‐ Because it's in the culture now.
357
00:15:05,239 --> 00:15:06,949
But when you first heard it,
it was like,
358
00:15:06,949 --> 00:15:08,951
"Oh, that's a odd, funny expression."
‐ Yeah.
359
00:15:09,284 --> 00:15:12,246
Also, the name Beatles
is in the culture now.
360
00:15:12,246 --> 00:15:15,415
So if you say Beatles, nobody goes,
"Ooh, creepy crawly!"
361
00:15:15,415 --> 00:15:18,085
But when we started, everyone did.
‐ Yeah.
362
00:15:18,085 --> 00:15:19,962
What do you remember
when you first met Ringo?
363
00:15:19,962 --> 00:15:23,507
‐ We first met Ringo by seeing him
playing in Hamburg.
364
00:15:23,507 --> 00:15:24,341
RICK: Yeah.
365
00:15:24,341 --> 00:15:27,427
PAUL: He was kind of suave.
He was more grownup.
366
00:15:27,427 --> 00:15:29,054
RICK: Yeah.
‐ I mean, he always was
367
00:15:29,054 --> 00:15:30,347
the oldest in The Beatles, and still is.
368
00:15:30,347 --> 00:15:31,515
[both laugh]
369
00:15:31,515 --> 00:15:34,476
'Cause he'd been working
professionally before we had.
370
00:15:34,810 --> 00:15:37,479
We were kind of much more amateur
than Ringo was.
371
00:15:37,479 --> 00:15:39,690
‐ Mm‐hmm.
‐ He had like a big car.
372
00:15:40,274 --> 00:15:42,192
None of us had cars.
373
00:15:42,192 --> 00:15:45,487
And Ringo's great thing,
he's so suave.
374
00:15:45,487 --> 00:15:49,074
He would light, if he was with a girl,
he would light two cigarettes.
375
00:15:50,325 --> 00:15:51,618
‐ Like Humphrey Bogart.
376
00:15:52,578 --> 00:15:54,663
‐ He'd seen it in the films.
‐ Yes.
377
00:15:55,205 --> 00:15:58,417
‐ The drink he had
was bourbon and seven.
378
00:15:59,543 --> 00:16:01,420
We didn't know what that was.
We could get it at the bar,
379
00:16:01,420 --> 00:16:04,214
so we all started
drinking bourbon and seven.
380
00:16:04,214 --> 00:16:07,092
We went back to Liverpool and said,
"Bourbon and seven, please."
381
00:16:07,092 --> 00:16:10,053
They said, "What? What are you
talking about? What's that?"
382
00:16:10,470 --> 00:16:12,347
Because they didn't have bourbon,
and they didn't have seven.
383
00:16:13,056 --> 00:16:15,058
So it became scotch and Coke.
‐ Ah.
384
00:16:15,726 --> 00:16:18,395
PAUL: There was one thing we were
particularly impressed with,
385
00:16:18,770 --> 00:16:21,773
which was the drum part
to What'd I Say?
386
00:16:21,773 --> 00:16:24,109
The Ray Charles record that I loved.
387
00:16:24,109 --> 00:16:27,613
♪ What'd I Say? playing ♪
388
00:16:28,030 --> 00:16:29,239
From a high hat.
389
00:16:29,239 --> 00:16:33,452
♪
390
00:16:33,452 --> 00:16:34,536
Yeah!
391
00:16:35,287 --> 00:16:37,414
Not many drummers could do that.
‐ Yeah.
392
00:16:37,414 --> 00:16:39,124
‐ But he could play like that.
‐ Yeah.
393
00:16:39,499 --> 00:16:40,959
‐ So it was like, "Wow!"
394
00:16:40,959 --> 00:16:44,838
♪
395
00:16:50,677 --> 00:16:55,224
Yeah. So we saw him
doing that in Hamburg
396
00:16:55,933 --> 00:16:57,851
with Rory Storm
and The Hurricanes.
397
00:16:57,851 --> 00:16:58,644
‐ Hm.
398
00:16:58,644 --> 00:17:01,563
‐ And it was like,
"Wow, he's really good."
399
00:17:01,563 --> 00:17:03,815
And so we admired him,
and we'd go around
400
00:17:03,815 --> 00:17:07,236
to watch them, um, just to hear him.
401
00:17:07,736 --> 00:17:09,988
So that was it.
We knew him from Hamburg.
402
00:17:10,614 --> 00:17:13,158
And once our then drummer, Pete,
403
00:17:13,158 --> 00:17:16,495
didn't show up
and Ringo sat in for him,
404
00:17:16,495 --> 00:17:19,456
I so clearly remember me,
John, and George
405
00:17:19,456 --> 00:17:20,707
as the front line,
406
00:17:21,124 --> 00:17:23,836
standing in a line in the front
on three mics
407
00:17:24,253 --> 00:17:25,838
and this guy behind us.
408
00:17:26,296 --> 00:17:29,299
And when he kicked in the drums,
409
00:17:29,299 --> 00:17:30,926
it was like, "Oh!"
410
00:17:30,926 --> 00:17:34,930
♪ I Saw Her Standing There playing ♪
411
00:17:34,930 --> 00:17:39,393
♪
412
00:17:39,393 --> 00:17:42,271
[audience cheering]
413
00:17:42,271 --> 00:17:48,068
♪
414
00:17:48,068 --> 00:17:50,404
♪ Oh, she looked at me ♪
415
00:17:50,404 --> 00:17:52,239
PAUL:
And we were, like, thrilled.
416
00:17:52,239 --> 00:17:54,283
Wow, he just lifted us.
417
00:17:54,741 --> 00:17:55,784
This is different.
418
00:17:56,410 --> 00:17:58,954
I'm, like, looking at the others
just as we were singing it.
419
00:17:58,954 --> 00:18:00,622
It was like, "Wow!"
420
00:18:01,456 --> 00:18:04,126
It was a moment.
It was like a big moment.
421
00:18:04,501 --> 00:18:07,754
"Wow, I hope we can stay
with this guy."
422
00:18:07,754 --> 00:18:08,964
‐ Great.
423
00:18:08,964 --> 00:18:10,799
‐ He'd just brought
the whole band together.
424
00:18:10,799 --> 00:18:14,970
‐ ♪ Since I saw her standing there ♪
425
00:18:14,970 --> 00:18:16,722
♪ Whoa ♪
426
00:18:16,722 --> 00:18:18,390
♪
427
00:18:18,390 --> 00:18:22,102
[crowd cheering]
428
00:18:22,895 --> 00:18:24,521
‐ One of the things I noticed
in listening to the tracks
429
00:18:24,521 --> 00:18:26,398
is that sometimes
the songs will start
430
00:18:26,398 --> 00:18:30,444
as a... a folk song or a ballad.
‐ Yeah.
431
00:18:30,444 --> 00:18:32,821
‐ And then the rhythm section comes in,
432
00:18:32,821 --> 00:18:34,406
and the rhythm section
is thinking something
433
00:18:34,406 --> 00:18:36,158
completely different than that.
‐ Mm.
434
00:18:36,158 --> 00:18:39,203
‐ And it changes the whole picture fast.
‐ Yeah.
435
00:18:40,078 --> 00:18:41,955
Um, yeah. Well,
you say, you know,
436
00:18:41,955 --> 00:18:44,791
you bring a song in,
you kick it around.
437
00:18:44,791 --> 00:18:45,584
‐ Yeah.
438
00:18:45,584 --> 00:18:48,629
‐ Then if someone gets an idea,
"Oh, why don't we do that?"
439
00:18:48,629 --> 00:18:50,797
Or, "How about this on the drums?"
440
00:18:50,797 --> 00:18:53,884
Or Ringo, like,
on a song like Get Back,
441
00:18:53,884 --> 00:18:55,886
we were just kicking it around
as a little jam‐‐
442
00:18:55,886 --> 00:18:58,514
[humming]
443
00:18:58,847 --> 00:19:00,098
And then he gets on the drums‐‐
444
00:19:00,098 --> 00:19:01,433
[imitating drum beats]
445
00:19:01,433 --> 00:19:06,355
♪ Get Back playing ♪
446
00:19:06,355 --> 00:19:09,525
♪
447
00:19:09,525 --> 00:19:10,275
♪ Get back ♪
448
00:19:10,275 --> 00:19:13,320
PAUL: So he's got this little kind of
almost military thing going.
449
00:19:13,320 --> 00:19:16,406
Well, that really then,
"Oh, great. Different."
450
00:19:16,406 --> 00:19:17,950
‐ Absolutely.
‐ As you know. Instead of just‐‐
451
00:19:17,950 --> 00:19:19,785
[imitating drum beat]
‐ Yeah.
452
00:19:21,203 --> 00:19:23,330
‐ Then somebody else needs to fill in.
453
00:19:23,330 --> 00:19:24,248
‐ Yeah.
454
00:19:24,248 --> 00:19:26,792
But he was doing‐‐
[imitating drum beat]
455
00:19:28,418 --> 00:19:30,087
Made a world of difference.
456
00:19:30,754 --> 00:19:32,506
JOHN [on recording]:
♪ A‐one, a‐two, a‐three ♪
457
00:19:32,506 --> 00:19:34,132
♪ For I have got ♪
458
00:19:35,175 --> 00:19:36,885
♪ Another girl ♪
459
00:19:37,886 --> 00:19:39,179
♪ Another girl ♪
460
00:19:39,179 --> 00:19:41,223
♪ She's sweeter
than all the girls ♪
461
00:19:41,223 --> 00:19:43,892
♪ And I've met quite a few ♪
462
00:19:44,476 --> 00:19:47,062
♪ Nobody in all the world can ♪
463
00:19:47,062 --> 00:19:49,857
RICK: The rhythm track is flawless.
464
00:19:49,857 --> 00:19:51,358
♪
465
00:19:51,358 --> 00:19:52,985
‐ That's pretty straight country.
466
00:19:52,985 --> 00:19:54,319
‐ That swings.
‐ Yeah.
467
00:19:55,028 --> 00:19:58,740
♪
468
00:19:58,740 --> 00:20:01,118
Me and Ringo
kind of always knew‐‐
469
00:20:01,660 --> 00:20:02,744
You know...
‐ It better be good.
470
00:20:02,744 --> 00:20:04,329
‐ If‐‐ Yeah,
if we don't get this right,
471
00:20:04,329 --> 00:20:06,081
this is going to be
on the record.
472
00:20:06,081 --> 00:20:06,957
We've screwed it.
473
00:20:07,833 --> 00:20:09,585
So it was kind of a little bit scary.
474
00:20:09,585 --> 00:20:11,003
You had to get it.
‐ Yeah.
475
00:20:11,003 --> 00:20:13,881
‐ Early days, particularly,
one of our things was
476
00:20:14,381 --> 00:20:16,675
if the producer doesn't notice
a mistake,
477
00:20:17,009 --> 00:20:19,303
it's not a mistake, you know.
478
00:20:19,303 --> 00:20:20,762
Don't, shh, don't say anything.
479
00:20:22,973 --> 00:20:24,057
You know.
480
00:20:25,517 --> 00:20:26,560
That's the rhythm.
481
00:20:27,811 --> 00:20:30,647
‐ ♪ I don't wanna say that I've been ♪
482
00:20:30,647 --> 00:20:32,649
♪ Unhappy with you ♪
483
00:20:33,317 --> 00:20:36,111
♪ But as from today,
well, I've seen ♪
484
00:20:36,111 --> 00:20:37,988
♪ Somebody that's new ♪
485
00:20:38,947 --> 00:20:40,657
♪ I ain't no fool ♪
486
00:20:40,657 --> 00:20:43,035
♪ And I don't take what I don't want ♪
487
00:20:43,035 --> 00:20:44,411
♪ For I have got ♪
488
00:20:45,746 --> 00:20:47,497
♪ Another girl ♪
489
00:20:48,540 --> 00:20:50,417
♪ Another girl ♪
490
00:20:51,126 --> 00:20:52,336
‐ We got it.
491
00:20:53,086 --> 00:20:54,171
‐ Finally.
492
00:20:54,171 --> 00:20:57,549
♪ song ends ♪
493
00:20:57,549 --> 00:20:58,509
‐ Whew.
494
00:20:58,509 --> 00:21:00,177
‐ Who played the guitar on that?
495
00:21:00,177 --> 00:21:01,386
‐ I'm not sure.
‐ Really?
496
00:21:01,386 --> 00:21:04,765
‐ I mean, I'm wanting to say it's me
'cause it's bad enough.
497
00:21:04,765 --> 00:21:07,392
‐ It's a bold choice for you to play that.
‐ Bold mistakes.
498
00:21:07,392 --> 00:21:08,393
‐ That's beautiful.
‐ That's me.
499
00:21:08,393 --> 00:21:10,479
I specialize in bold mistakes.
500
00:21:10,479 --> 00:21:11,480
[chuckles]
501
00:21:12,105 --> 00:21:14,399
I mean, that's
the funny thing now
502
00:21:14,399 --> 00:21:16,777
'cause you've got
the opportunity to go back in.
503
00:21:16,777 --> 00:21:18,153
‐ Yeah.
‐ I would've‐‐
504
00:21:18,153 --> 00:21:20,614
Those couple of little licks that I miss,
505
00:21:20,614 --> 00:21:22,032
where you go...
[imitating guitar riff]
506
00:21:22,824 --> 00:21:24,952
And you can see, I got stuck.
‐ Yeah. Yeah.
507
00:21:24,952 --> 00:21:26,745
‐ You'd go back in and fix that.
508
00:21:26,745 --> 00:21:28,163
‐ Yeah. But maybe
the reasons that this‐‐
509
00:21:28,163 --> 00:21:29,498
‐ But there's kind of an innocence.
510
00:21:29,498 --> 00:21:30,832
‐ Absolutely.
[Paul imitating guitar riff]
511
00:21:30,832 --> 00:21:32,000
It's real.
512
00:21:32,000 --> 00:21:33,544
‐ It's real, alright.
513
00:21:33,544 --> 00:21:35,879
‐ It adds to the energy
of the track of, like,
514
00:21:35,879 --> 00:21:39,383
"Oh, it's so cookin'
that he can barely even play it."
515
00:21:39,383 --> 00:21:41,635
You know what I mean?
Like, it's, it's running away.
516
00:21:41,635 --> 00:21:43,887
‐ Okay. I'll, I'll go
with that explanation.
517
00:21:43,887 --> 00:21:45,681
‐ Okay.
[both laugh]
518
00:21:45,681 --> 00:21:47,516
‐ I wish I had you in school.
519
00:21:47,516 --> 00:21:48,976
[Rick laughs]
520
00:21:49,351 --> 00:21:53,146
"No, he didn't make a mistake.
He was just enthusiastic."
521
00:21:53,146 --> 00:21:54,314
Yeah.
522
00:21:55,315 --> 00:21:56,817
RICK: Did you ever hear
any of the other music
523
00:21:56,817 --> 00:21:58,652
that was being made
at Abbey Road at the time?
524
00:21:58,652 --> 00:22:00,070
Like, when your session was over,
525
00:22:00,070 --> 00:22:02,281
would you hop around
and hear different stuff?
526
00:22:02,281 --> 00:22:03,615
‐ Yeah! Yeah, yeah, yeah.
Yeah, we would.
527
00:22:03,615 --> 00:22:06,326
Floyd came in after us.
‐ Yes.
528
00:22:06,326 --> 00:22:10,581
‐ Pink Floyd, and did a lot
of cool experimental stuff.
529
00:22:10,581 --> 00:22:12,499
This was more Wings period,
530
00:22:12,499 --> 00:22:14,710
but they were next door
making Dark Side Of The Moon.
531
00:22:14,710 --> 00:22:16,545
RICK: Wow.
PAUL: And that was pretty cool.
532
00:22:16,545 --> 00:22:17,462
‐ Did you get to hear anything?
533
00:22:17,462 --> 00:22:18,839
Did you listen ever?
‐ Yeah.
534
00:22:18,839 --> 00:22:21,091
The engineers were
quite interchangeable.
535
00:22:21,091 --> 00:22:21,842
‐ Yes.
536
00:22:21,842 --> 00:22:25,554
‐ So an engineer that would work
on their stuff would work on ours,
537
00:22:25,554 --> 00:22:27,514
and he'd, he'd play us some,
538
00:22:27,514 --> 00:22:29,850
some, uh, some of
the Dark Side Of The Moon stuff.
539
00:22:29,850 --> 00:22:30,726
‐ Wow.
540
00:22:30,726 --> 00:22:34,479
PAUL:
A guy who ran our record company
541
00:22:34,479 --> 00:22:35,898
came up to me one day, he said,
542
00:22:35,898 --> 00:22:39,568
"Would you have any interest
in doing a Bond theme," you know.
543
00:22:40,027 --> 00:22:41,570
I said, "Oh yeah."
544
00:22:41,570 --> 00:22:43,530
So he said, It's Live and Let Die.
545
00:22:43,947 --> 00:22:45,949
And I think he gave me
a copy of the book.
546
00:22:45,949 --> 00:22:48,577
So I read the Ian Fleming book.
‐ Mmm. Mm‐hmm.
547
00:22:48,577 --> 00:22:50,954
‐ Um, on the Saturday,
I think it was.
548
00:22:50,954 --> 00:22:51,830
‐ Yeah.
549
00:22:51,830 --> 00:22:56,084
‐ And on the Sunday,
day after, I wrote the song.
550
00:22:56,627 --> 00:22:58,504
Went to see George Martin.
‐ Yeah.
551
00:22:58,504 --> 00:23:00,380
‐ Started developing it with George.
552
00:23:00,380 --> 00:23:01,632
So, um‐‐
553
00:23:01,632 --> 00:23:03,091
♪ plays piano notes ♪
554
00:23:03,091 --> 00:23:03,926
How's it go?
555
00:23:03,926 --> 00:23:09,556
♪ playing Live and Let Die ♪
556
00:23:09,556 --> 00:23:13,894
♪ When you were young
and your heart was an open book ♪
557
00:23:14,478 --> 00:23:18,023
[humming]
558
00:23:18,023 --> 00:23:22,319
♪
559
00:23:22,319 --> 00:23:24,738
♪ Live and let die ♪
560
00:23:24,738 --> 00:23:28,116
♪ Live and... ♪
561
00:23:28,116 --> 00:23:29,409
♪ Let die ♪
562
00:23:30,035 --> 00:23:31,995
♪ Live and let die ♪
563
00:23:31,995 --> 00:23:35,374
♪ Live and Let Die playing ♪
564
00:23:35,374 --> 00:23:38,335
♪
565
00:23:41,296 --> 00:23:42,422
George Martin.
‐ Ah.
566
00:23:42,422 --> 00:23:46,009
♪
567
00:23:46,009 --> 00:23:47,970
Wow.
‐ This is straight George.
568
00:23:47,970 --> 00:23:49,096
‐ So cool.
569
00:23:49,096 --> 00:23:50,305
‐ Well, it's for a film.
‐ Yeah.
570
00:23:50,305 --> 00:23:53,141
‐ So we could go further.
‐ Yeah. Yeah.
571
00:23:53,851 --> 00:23:54,726
So cool.
572
00:23:54,726 --> 00:23:56,979
♪
573
00:24:06,071 --> 00:24:08,448
♪ What does it matter to you? ♪
574
00:24:08,448 --> 00:24:09,533
‐ Yeah. Completely unexpected.
575
00:24:09,533 --> 00:24:10,534
‐ ♪ When you got a job to do ♪
576
00:24:10,534 --> 00:24:12,327
Because it was in the Caribbean.
577
00:24:12,327 --> 00:24:13,745
‐ Yeah. Great.
578
00:24:13,745 --> 00:24:19,585
‐ ♪ You got to give
the other fellow hell ♪
579
00:24:19,877 --> 00:24:23,046
♪ Live and Let Die continues ♪
580
00:24:23,046 --> 00:24:26,884
♪
581
00:24:27,259 --> 00:24:29,386
RICK: So when you wrote it,
it would be like‐‐
582
00:24:30,554 --> 00:24:35,184
♪ up‐tempo piano music playing ♪
583
00:24:35,184 --> 00:24:37,519
‐ All these little
strange little moments.
584
00:24:38,061 --> 00:24:39,605
I love it.
‐ Beautiful.
585
00:24:39,605 --> 00:24:43,567
♪
586
00:24:43,567 --> 00:24:46,737
♪ slow piano music playing ♪
587
00:24:46,737 --> 00:24:48,405
‐ This is very film‐ic.
588
00:24:48,405 --> 00:24:50,532
‐ Yeah, and it's‐‐ and it's not an ending.
‐ It almost...
589
00:24:50,532 --> 00:24:52,743
‐ You know, it doesn't tell you
something's over.
590
00:24:52,743 --> 00:24:53,535
‐ No.
591
00:24:53,535 --> 00:24:55,078
‐ It kind of tells you
something's starting.
592
00:24:55,078 --> 00:24:55,829
‐ I should have done‐‐
593
00:24:55,829 --> 00:24:57,623
♪ comic piano music plays ♪
594
00:24:57,623 --> 00:24:58,457
[laughs]
595
00:24:58,457 --> 00:24:59,958
‐ And then it would've been the ending.
‐ That's an ending.
596
00:24:59,958 --> 00:25:01,835
‐ You know, for real.
‐ That would have been the thing.
597
00:25:01,835 --> 00:25:05,297
James Bond comes walking in,
dressed as Charlie Chaplin.
598
00:25:05,297 --> 00:25:07,174
[laughing]
599
00:25:07,841 --> 00:25:11,011
♪ Check My Machine playing ♪
600
00:25:11,011 --> 00:25:13,639
‐ ♪ Sticks and stones
may break my bones ♪
601
00:25:13,639 --> 00:25:15,891
♪ But names will never hurt me ♪
602
00:25:16,558 --> 00:25:19,228
‐ ♪ Check ♪
603
00:25:19,228 --> 00:25:21,605
♪ My machine ♪
604
00:25:21,605 --> 00:25:22,523
PAUL: Come on now.
605
00:25:22,523 --> 00:25:24,733
‐ ♪ Check check check check check ♪
606
00:25:24,733 --> 00:25:26,860
‐ Ho!
‐ ♪ My machine ♪
607
00:25:26,860 --> 00:25:28,320
[imitating drum beats]
608
00:25:28,320 --> 00:25:30,280
♪ Check ♪
‐ Whoo!
609
00:25:30,989 --> 00:25:32,324
‐ ♪ My machine ♪
610
00:25:33,784 --> 00:25:36,537
♪ Come on, check check
check check check ♪
611
00:25:36,870 --> 00:25:38,747
♪ My machine ♪
612
00:25:39,289 --> 00:25:45,003
♪
613
00:25:51,635 --> 00:25:53,345
‐ It's just a groove.
‐ Yeah.
614
00:25:53,345 --> 00:25:54,555
‐ Because I'm, I'm just‐‐
615
00:25:55,305 --> 00:25:56,181
‐ It's so good.
616
00:25:56,181 --> 00:25:58,350
‐ I'm just enjoying the little groove.
617
00:25:58,350 --> 00:26:01,520
That's what these kind of records
are all about for me.
618
00:26:03,230 --> 00:26:06,275
‐ ♪ Check check check check check ♪
619
00:26:06,275 --> 00:26:08,151
♪ My machine ♪
620
00:26:09,611 --> 00:26:11,655
♪ Check ♪
621
00:26:11,989 --> 00:26:13,824
‐ And it's interesting
how certain phrases
622
00:26:13,824 --> 00:26:15,701
you can hear over and over again,
623
00:26:15,701 --> 00:26:17,995
and it's interesting
when there are other phrases,
624
00:26:17,995 --> 00:26:20,289
you hear them three times
and you never want to hear it again.
625
00:26:20,289 --> 00:26:22,124
‐ Yeah. Yeah.
‐ Who knows why? Like...
626
00:26:22,124 --> 00:26:22,916
‐ Yeah.
627
00:26:23,876 --> 00:26:26,170
And also, when you make
this kind of recording,
628
00:26:28,380 --> 00:26:31,592
you're just going to keep going
with the "Check my machine" thing
629
00:26:31,592 --> 00:26:33,177
to see if it kind of gets anywhere.
630
00:26:33,177 --> 00:26:36,430
‐ Yeah.
‐ And so in the end,
631
00:26:36,430 --> 00:26:39,141
the story of you trying
to get somewhere
632
00:26:39,141 --> 00:26:40,851
becomes the vocal.
‐ Yeah. Yeah.
633
00:26:40,851 --> 00:26:43,020
‐ It's just like,
"Oh, I thought I was going
634
00:26:43,020 --> 00:26:44,897
to just select that bit and that bit."
‐ Yes.
635
00:26:44,897 --> 00:26:46,315
‐ But it's kind of,
it's kind of nice.
636
00:26:46,315 --> 00:26:47,274
‐ It, it develops.
637
00:26:47,274 --> 00:26:48,775
‐ Yeah.
‐ Yeah, yeah, yeah.
638
00:26:50,569 --> 00:26:51,904
It's like jazz really.
639
00:26:51,904 --> 00:26:54,072
You know, like repeating a‐‐
‐ Yeah.
640
00:26:54,072 --> 00:26:55,324
Phrase.
641
00:26:55,324 --> 00:26:56,700
‐ Yeah, phrase over and over
642
00:26:56,700 --> 00:26:59,203
and, like, finding new ways
to interpret it.
643
00:27:00,120 --> 00:27:01,413
Really interesting.
644
00:27:01,955 --> 00:27:05,250
♪
645
00:27:09,004 --> 00:27:10,255
♪ song ends ♪
646
00:27:10,672 --> 00:27:15,677
♪ You Know My Name playing ♪
647
00:27:15,677 --> 00:27:20,682
♪
648
00:27:28,065 --> 00:27:31,068
‐ ♪ You know my name ♪
649
00:27:34,404 --> 00:27:36,448
♪ Look up the number ♪
650
00:27:37,741 --> 00:27:40,285
♪ You know my name ♪
651
00:27:42,538 --> 00:27:44,540
♪ Look up the number ♪
652
00:27:45,874 --> 00:27:48,710
♪ You, you know ♪
653
00:27:48,710 --> 00:27:51,296
♪ You know my name ♪
654
00:27:51,296 --> 00:27:53,966
♪ You, you know ♪
655
00:27:53,966 --> 00:27:56,718
♪ You know my name ♪
656
00:27:56,718 --> 00:28:01,431
♪
657
00:28:01,431 --> 00:28:03,725
JOHN [imitating American accent]:
Good evening and welcome to Slaggers,
658
00:28:04,351 --> 00:28:05,978
featuring Denis O'Bell.
659
00:28:07,437 --> 00:28:09,731
Come on, Ringo, here we go.
660
00:28:09,731 --> 00:28:11,900
Let's hear it for Denis, ha hey.
661
00:28:11,900 --> 00:28:12,734
PAUL: Good evening.
662
00:28:14,319 --> 00:28:16,530
♪ You know my name ♪
663
00:28:16,530 --> 00:28:18,156
[applause]
664
00:28:18,156 --> 00:28:21,076
♪ Better look up my number ♪
665
00:28:21,743 --> 00:28:23,787
♪ You know my name ♪
666
00:28:23,787 --> 00:28:26,832
♪ That's right,
look up my number ♪
667
00:28:27,499 --> 00:28:29,585
♪ You, you know ♪
668
00:28:29,585 --> 00:28:31,879
♪ You know my name ♪
669
00:28:31,879 --> 00:28:33,755
♪ You, you know ♪
670
00:28:33,755 --> 00:28:35,591
♪ You know my name ♪
671
00:28:36,341 --> 00:28:39,761
♪ You know my name,
ba ba ba ba ba ba ba ba ♪
672
00:28:40,637 --> 00:28:43,515
♪ Look up the number ♪
673
00:28:43,515 --> 00:28:45,767
♪ You know my name, ha ♪
674
00:28:46,351 --> 00:28:48,770
♪ That's right,
look up the number ♪
675
00:28:48,770 --> 00:28:51,982
♪ Ooh, you know, you know ♪
676
00:28:51,982 --> 00:28:53,942
♪ You know my name ♪
677
00:28:53,942 --> 00:28:54,776
♪ You know ♪
678
00:28:55,444 --> 00:28:57,404
♪ You know you know my name ♪
679
00:28:57,404 --> 00:28:58,530
♪ Ha ha ha ha ♪
680
00:28:58,947 --> 00:29:00,782
♪ You know my name ♪
681
00:29:00,782 --> 00:29:03,035
♪ Ba ba ba ba bam ♪
682
00:29:03,035 --> 00:29:05,746
♪ Look up the number ♪
683
00:29:05,746 --> 00:29:09,082
♪ You know my name ♪
48034
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