All language subtitles for McCartney.3.2.1.S01E03.WEBRip

Well, I've been wonderful
on the last two takes.

Back in the U. S. S. R playing

Flew in from Miami Beach BOAC

Didn't get to bed last night

On the way the paper bag
was on my knee

Man, I had a dreadful flight

I'm back in the USSR

You don't know
how lucky you are, boy

Back in the US, back in the US

Back in the USSR

Oh, come on!

Oh

Show me round
your snow‐peaked mountains

Way down south

Take me to your Daddy's farm

Let me hear‐‐

Bala‐‐

Ringing out

Come and keep your comrade warm

I'm back in the USSR ‐ Whoo!

Hey!

‐ You don't know
how lucky you are, boy

Back

‐ Back. And we're back.

‐ What do you remember about this?
‐ Whoo!

‐ Wha‐what do you remember
about that, that moment?

‐ Writing the song...
‐ Yeah.

‐ You know,
as a kind of spin‐off,

like a joke on the Chuck Berry
Back in the USA.

‐ Mm‐hmm.

‐ For some reason, I mean,
maybe I was showing Ringo

what I thought
the drumming should be.

I think, and he might've said,
"Well, you do it."

He might've also said,
"Well, you do it."

‐ So you played drums on this.
‐ I‐‐ Yeah.

‐ I didn't know that.
‐ Yeah, yeah.

‐ How long did you write the song

before this was recorded,
would you say?

‐ It wouldn't have been that long

'cause you pretty much wrote
the thing and got in the studio.

Um‐‐

‐ In the old days,
when you were doing cover songs... ‐ Mmm.

‐ ...you would all learn
the cover songs together,

so you were in the habit
of learning a song quickly.

‐ Yeah.

‐ Anyway.
‐ That's true.

Yeah. And we, we never rehearsed.
‐ Yeah.

‐ I mean, now I rehearse
quite a bit,

'cause you've got
a big production as well.

But then, I remember us
sort of saying,

you know,
we had a day's rehearsal

and we were going
to do the next day.

Everyone was like,
"That's enough."

You know?

"We've done one day,
what more do you want?"

‐ Before the first record, though...
‐ Yeah.

‐ ...how many hours did you play together?
‐ Yeah.

Yeah, yeah.

Yeah, exactly.
‐ Yeah.

‐ At least 10,000.

‐ Yeah.
‐ According to the man.

‐ When was the point
where it's like,

this is different than everyone else,
in terms of popularity?

‐ Okay. So we'd played in Hamburg,
then we played in England,

and we got more
and more popular,

and I always say,
it's a good thing.

Because, you know, a lot of kids
on these TV talent shows

are propelled into stardom,

and they don't know how to deal with it.
‐ Yeah.

‐ But we had this staircase
so that we would play ballrooms,

then we played theaters,
then we'd do a bit of television,

then we'd do a radio series,
we'd do this and this and this.

So we were getting famous,

and then we'd had
number‐one records,

so I think that's when
we first started to think,

"We're famous.
We're number one in the land."

‐ Hm.
‐ But my thing was America.

‐ Hm.

‐ No British acts had gone
to America and been successful.

They'd all come back.

So I remember taking
Brian Epstein aside,

saying "Brian," I said,

"We can't go to America

"until we've got
a number‐one record there.

We've got to wait."
‐ Hm.

‐ And we did.

We waited and waited.

And it didn't happen
until I Want to Hold Your Hand.

‐ Oh, yeah, I

I'll tell you something

I think you'll understand

When I'll say that something

I wanna hold your hand

I wanna hold your hand

‐ We were playing in Paris,
when a telegram,

the old fashioned email,
came through.

"Congratulations, boys.

I Want to Hold Your Hand,
number one in the USA."

‐ Wow.
‐ Aah!

And that was a party night.

I wanna hold your hand

I wanna hold your hand

I wanna hold your hand

I wanna hold your hand

‐ You think it was because
you loved American music so much,

or wh‐‐ is that why‐‐ ‐ Yeah!

Yeah, that's what it was. Yeah.
We loved American music.

It was the blues tradition,
the rock and roll tradition,

Elvis.
‐ Yeah.

‐ Everything we listened to
was American.

Little Richard at the piano,
banging away.

It blew our minds.

Did you ever get
to meet any of those guys?

‐ Richard. We worked
with Richard in Hamburg.

‐ Really?
‐ Yeah.

‐ What was that like?

‐ Incredible.
‐ Yeah.

You know,
for young kids from Liverpool

to work with someone
like Little Richard.

‐ Good golly, Miss Molly

Sure like to ball, whoo

Good golly, Miss Molly

Sure like to ball

When you're rockin'
and a rollin', yeah

Can't hear your momma call

‐ It was so great.

It was a whole TV hour
on its own.

You know, we'd go into his dressing room
before he went on,

and just to hear his stories.

‐ See, you don't have to be
the top of the bill

to climb the hill.

See, this is not, it ain't the size
of the ship that make you seasick,

it's the waves in the ocean.

It ain't the man
that run the fastest,

but the man that endure
to the end.

So I know that if water fall
on rock long enough,

it's to break it.

It was, like,
evangelical or something.

Yeah.

‐ And, well, he'd gone to Australia.

Supposed to have thrown
all his rings into the water

and renounced, you know,
materialism or whatever. ‐ Yes.

‐ So we'd ask him,
"Hey, Richard, is it true

that, you know, you threw
all your rings away and all that?"

And he'd tell us all, he'd say,

"Yes, child, that's true.

I'll tell you."

And he had this beautiful way,
Southern, Southern American way.

So yeah, we were
massively excited to come to America

because these are the people
that we loved,

and they were loving us.
‐ Yeah.

‐ This was like, yeah,
we've arrived. We were famous.

Yeah.

It's a great feeling.
‐ Yeah.

‐ Of being accepted.

Is really‐‐ ‐ Yeah, exactly.

Because you think about it,

that's sort of what
everyone's trying to do.

There's obviously
the cool guys who went,

"I don't care,"
and that's great.

But, um, most people, I think
most people want to be accepted.

Like, "Great job."
‐ Yeah. He's good.

‐ You go, "Thank you."

Baby's In Black playing

‐ Oh, dear, what can I do?

‐ Two voices the whole time,
harmony the whole time.

‐ Tell me, oh, what can I do?

She thinks of him

And so she dresses in black

And though he'll never come back

She's dressed in black

‐ You know, we'd started off with songs
which are just for the fans.

‐ Yeah.

‐ From Me To You,
Love Me Do, Please Please Me,

Thank You Girl.

We were writing
to our fan audience.

But then, as things went on,

we started to just write
for ourselves

and figured

that the fans would listen
to our extension

of what we wanted to write.

So we did, and we got
into kind of more

sort of slightly different things.

This being 3/4 time.

And we used to want
to do this on stage.

But it wasn't
a big fan favorite.

‐ May be hard to dance to, too,
because of the‐‐

‐ It would be hard to dance to.
‐ Because of the groove.

But the harmonies are great.

And the words are really good.
‐ As you say, it's very Everlys.

‐ When I feel blue

In the night and I need you

How impactful were
the Everly Brothers on you?

Oh, massively.

We always used to say
I was Phil, John was Don.

You listen to Beatles records.

'Cause I always take
the higher harmony than John.

That was us being the Everlys.

‐ Baby's in black

And I'm feeling blue

Tell me, oh, what can I do?

‐ You know, we were
kind of proud of this one.

‐ This is a good one.

‐ We thought we were kind of,
you know, getting really funky folk.

‐ And so she dresses in black

And though he'll never come back

She's dressed in black

‐ Tell me about albums
versus singles,

because in modern time,

when you put out an album,
all your singles are on that album.

‐ Yeah. Yeah.

‐ But were you guys
the first guys to do singles

that were not part of albums?

‐ We had the luxury to do that.
‐ Yeah.

‐ You know,
somebody's coming in,

and they're only going
to ever have one hit.

‐ Yeah.

‐ Then that had better be
on the album.

‐ Yeah, yeah, yeah.
‐ You know.

But we, we were rather confident.

‐ Yeah.
‐ And then the other great thing was,

there used to be an A side
and a B side, as you know.

‐ Yeah.

‐ The B side earns
just as much money as the A side,

so we were trying to write
good A sides, good B sides.

‐ Yeah.

‐ I remember Phil Spector
saying to us,

"You throw away all your songs.

"On a, on a, on a record,

you're putting
two good songs on there."

He said you should put the hit,

and then the other side,
just like take the vocal off,

and call it sing‐along‐with

or something.
‐ And sell it twice.

‐ Sell it twice.
And we said, "No, Phil.

We can't do that."
So, because you know why?

Because we were
recently record buyers.

‐ Yeah.

‐ And we would have felt
so cheated

if we'd have bought that record.

‐ Was it typically
an album a year?

‐ It was typically, it was like
an album a year,

and four singles a year.

‐ An album plus
four additional singles?

‐ Yeah.

‐ The songs were varied
on each album,

and then every album
was varied from the other.

‐ Yeah.

It was like, ah, ah, ah.

And the pace
you were working at‐‐

‐ Yeah.

‐ It'd be like, "Go down,
do the solo, then come on."

"Yeah, okay."

Run down...

Done, great.

‐ Next.
‐ Yeah. Next.

‐ Yeah, yeah, yeah.
‐ You know.

‐ Amazing.

‐ I remember, with And I Love Her.
‐ Yeah.

‐ I brought it in, and it was just,
I had the chords.

And then George Martin said,

"It would be nice
if we could have a little intro."

‐ Mm‐hmm.

‐ And George Harrison just went‐‐

And I Love Her playing

Yeah.

Yeah. Integral.

I give her all my love

‐ Now, see and that‐‐

‐ That's all I do

‐ You know, I couldn't imagine
this song without that.

‐ Yeah.
‐ Yeah.

‐ You'd love her too

‐ It was good, you know.

‐ Yeah.

‐ Ooh. Switches.

George, now he does this part,
instead of...

‐ That was not a preplanned‐‐

‐ No.

But he knew the chords,
and that was enough

so he could transpose stuff.

‐ A love like ours

Could never die

As long as I

Have you near me

And I love her

Her

Once we'd started to write,

we discovered other people
who were writing.

‐ Hm.

‐ This was like a,

like a sort of disease
that spread, a good disease.

‐ Yeah, everyone could see‐‐

‐ Of songwriting,
everyone sort of started‐‐

‐ "He's doing it, I'll try it."

‐ Yeah.

At one point quite early days,

we were supporting Roy Orbison.

‐ Hm.

‐ I think he'd always written
his stuff,

but a very favorite memory
of mine is,

we were on the tour with Roy,

and we stopped off somewhere
for a cup of tea.

Roy stayed on the bus.

And I remember John and I
coming back on the bus afterwards

and there, sitting at the back
of the bus with his guitar...

Oh, Pretty Woman playing

is Roy.

He's going...
Pretty woman

‐ Pretty woman
walking down the street

Pretty woman,
the kind I'd like to meet

Pretty woman

‐ And you learned things
from people like that.

Yeah.

‐ I'd do a little songwriting class,

in my old school
up in Liverpool.

And one of the things
I nearly always point out

to the students

is that it's good
to have an end to a song

because you've got to let
the audience know it's finished.

When we're on tour,

every song
of Roy's got a big end.

‐ It's over

And always like a great big note.

And he stopped.
Then it's like‐‐

There's nowhere else to go.
You've got to clap there.

‐ Yeah.

‐ So I said, well, yeah,
I don't want you to do that.

But think about letting
the audience know you've finished.

So we'd pick up little tricks
like that off, off Roy.

‐ Remember any other moments
where you saw something

and you just, like,
never saw anything like it

or felt anything like it before?

‐ Kinks.

You Really Got Me playing

I mean, we loved
their first hit.

You Really Got Me, and the guitar riff.
‐ Great riff too.

‐ Yeah, you really got me now

You got me
so I can't sleep at night

Yeah, you really got me now

You got me...

They supported us.
We were in Brighton.

We were due
to come on second half,

and they did the first half.

We all kind of came out,
sort of hid a bit,

so we could watch them, you know.

‐ Girl, you really got me goin'

You got me...

Good little song.

‐ Yeah.

‐ Uh, Seeing Dylan at the Albert Hall
was very special.

Because his first‐‐
‐ That was when it was still acoustic‐‐

‐ His first half was acoustic,

and then the band came on
for his electric.

‐ Just don't put on any airs

When you're down
on Rue Morgue Avenue

All the folkies
kind of booed him.

They thought he's gone over
to the other side.

He's sold out to the enemy,
you know.

But we loved it.
‐ Hm.

‐ Then, you know, we were talking
about Jimi Hendrix.

‐ Yeah. Where did you
see him play?

‐ We used to go to this club
called the Bag O' Nails,

which is where
I would eventually meet Linda.

Hm.

But it was our regular hangout.

Because we were in groups,
you never got to go to the pub.

When you stopped working,
the pubs are closed,

so you had to get, like, a drink
and maybe something to eat.

And this club,
Bag O' Nails, was that.

So I went down there,

and you would just sit
in an alcove

and you'd mainly listen
to records.

The live bands normally
weren't that good.

Anyway, one night, there was
hardly anyone in the club,

and I'm there late
with a couple of friends.

And you hear, to me,
some sort of exciting sound,

an electric guitar plugging in.

If it's all live‐‐

Yeah.

‐ That's‐‐ Whoa!

It's a little bit too loud,
but it's very cool.

He plugged it in.

Oh, that got our attention
and he goes‐‐

Hey, Joe

‐ Where you going
with that gun in your hand?

And that was another kind of,

wow,

electric moment.

And even though there's
hardly anyone in the club,

he played this great set,
teeth and the whole thing.

I think that was like
on a Friday night.

And then he played again,
same club on the Tuesday.

Well, it was packed.

‐ I'm going way down south

Way down Mexico way

‐ Just the word of mouth
from how great Friday‐‐

‐ Word around London was
you've got to see this guy.

‐ Wow.

‐ So we all went, uh, I went back
to check him out again.

‐ Great.

‐ And it was Pete Townshend
in the audience, Eric Clapton.

Word had got around.

It was very exciting,
but we're kids, living it.

What's great is, as time goes by,
th‐they become legends.

‐ Yeah.

‐ It was a great camaraderie,
you know,

and it was a great generation.

‐ Yeah.

‐ And it wasn't just us,
it was artists as well.

So you'd be hanging with artists
and looking at a lot of art,

and so I had a few friends
who were of that ilk

and would turn me on
to, like, cool books

and cool music.

It wouldn't necessarily find
its way onto a record,

but it influenced your thinking.

Lucy In The Sky With Diamonds playing

Yeah. This is an instrument
they had lying around EMI,

called a Lowrey organ.

‐ Who played this?
‐ Me.

Picture yourself

In a boat on a river

With tangerine trees

And marmalade skies

Somebody calls you,
you answer quite slowly

A girl with kaleidoscope eyes

Cellophane flowers

Of yellow and green

Towering over your head

‐ This is all on two track.

‐ It's a lot of information
for two, two tracks, isn't it?

‐ Lucy in the...

Lucy in the sky‐‐

‐ I think that's me making 'em all...

‐ Lucy in the sky with diamonds

‐ High‐‐ The high harmony.
‐ Yeah.

Follow her down‐‐

‐ Rick this is why we don't go
into tapes.

‐ That's beautiful.

It's beautiful.
‐ Aaaah!

Yeah.

You know the story.
Everyone thought it was LSD.

Lucy, Sky, Diamond.

But it was actually his son,
Julian, Julian Lennon,

who'd been at school
and had brought back

a little drawing
of his school friend, Lucy.

He'd drawn stars around her.

And so he called them diamonds,
and this was Lucy,

and because she was
sort of floating,

she was Lucy in the sky
with diamonds.

He said, "I think
it's a good title for a song."

‐ Yeah.

‐ And we were big
Lewis Carroll fans,

Alice in Wonderland,
Alice Through the Looking Glass.

And, uh, that was another point
of contact for me and John,

these lyrics, you know,
the kaleidoscope eyes.

It's sort of
straight out of Alice,

almost the Cheshire cat.

‐ Mm‐hmm.
‐ It was, you know, vanishes,

the caterpillar smoking
his big hookah.

‐ Yeah.

‐ And it was a head job,
you know, it was like‐‐ ‐ Yeah.

‐ The truth is,
everyone was getting stoned.

‐ Yeah.

‐ And it was intentionally
a sort of fun album

for the... high times.

Yeah. It worked.

‐ It did, yeah.

‐ Tell me about first time
in India.

‐ So we were in the middle
of sort of the drug culture

and we were pretty wasted,
you know, pretty burned out.

We'd seen Maharishi
when we were kids

on sort of black and white television.

And he giggles,
and we're going, you know,

just kids in Liverpool,
we're going, "Love this guy."

And then years later,
we did a little course in England,

and then we ended up
going out to India.

Within You Without You playing

Why we were doing it is
because we needed it.

Yeah.

It's all like, "Oh my God,"
we were working a lot,

and recording a lot.

So... going there was
a great relief, you know.

So yeah, we went out and stayed
at this place in Rishikesh,

which are now apparently,

it's The Beatles meditation camp.

It's a little bit rundown.
I met someone who'd been there.

But it was a very gentle time,
it was a very beautiful time.

And we'd all brought our guitars,

so we were all writing.

Dear Prudence playing

I wrote Ob‐La‐Di, Ob‐La‐Da there,

which is not really spiritual.

It was just a song.

And John wrote this.

Dear Prudence

Won't you come out to play?

‐ So is this like you imagined
when John played it for you first‐‐

‐ Yeah.
‐ It was like this?

‐ Pretty much, yeah.

It wasn't double tracked,
of course, but I mean,

just the simple version
of this, yeah.

There was a girl there
who was called Prudence Farrow,

and she was Mia Farrow's sister.

The word got out
that she was in her chalet

and wouldn't come out.

So we all sort of wanted
to go over.

And John was playing
and singing this to her.

Dear Prudence

‐ Won't you come out to play?

‐ Yeah.
‐ Yeah.

‐ It's that juxtaposition thing, again.

It's really a real folk song.

Isolates bass

‐ That's not.

‐ No, this is not folky.

Interesting tone.

‐ Wow. Really percussive, like‐‐

‐ With the treble.
‐ Yeah.

I liked to do that.

You know, we'd use a pick,
then you get that very treble end,

but then you get
the bass as well.

‐ Yeah.

‐ Dear Prudence

See the sunny skies

The wind is low,
the birds will sing

‐ It's long.

‐ Yeah.
‐ How'd that happen?

‐ Dear Prudence

‐ I think we were like, you know,
that was like a challenge.

‐ Yeah. See who can‐‐

‐ Who can hold
the note that long.

Vocalizing

Vocalizing continues

‐ Wow, that's long.

‐ Breathe in.

Yeah.
‐ Incredible.

‐ Yeah, it was just,
you know, it's like,

you wanted it to go
right through.

We could have stopped it halfway.
‐ Yeah, yeah, yeah.

‐ Taken a breath.
‐ Yeah.

‐ But it was like,
it's like mischief.

"No, you know, let's try
and see if we can hold it."

So it was like...

Ah ‐ Yeah.

‐ You know.

‐ And that would have been you,
John, and George?

‐ Yeah, I think so.
‐ Singing together, probably?

‐ Yeah.
‐ Typically.

‐ Yeah. That high note's me.

‐ Yeah.
‐ Yeah.

No, I remember that.
We would do that.

It would be like,
"It's so long, sorry."

"Yeah. But you can do it.
We can do it."

"No, we can't. It's too long."
‐ Yeah, yeah.

‐ "Let's try it."
‐ Yeah, yeah.

‐ You know, and it‐‐ we‐‐

You were playing around.
Yeah, it's fun, you know.

So you're pushing yourself.

‐ Won't you come out to play?

It was great.

I, I say to people, you know,
who are into meditation,

I was very lucky 'cause I got
my mantra off Maharishi himself.

‐ Directly.

‐ So I feel kind of privileged,
you know...
‐ Yes.

‐ ...that we were just there,
at that time.

He basically said,
"I'm going to give you a mantra."

‐ Hm.

‐ "These are ancient words,

"uh, and why I would give you
these words

"is they've been tried
and tested.

"So I'll give you your word.

"And I would like you
to just repeat it back to me.

"And, uh, if it's right,
I'll say yes,

and you don't ever say it again."

So he told me,
and I repeated it back,

and that was it.
‐ Yeah.

‐ I used that mantra,
and we continued,

and, um, it was good.

‐ I learned when I was 14
based on... Beatles meditated,

so I've got to learn that.

So I'm, I'm, I'm there.

I'm right‐‐ I'm with you.

And it changed
my life only for the better.

‐ Yeah.
‐ A million percent.

‐ Well, I love that
about The Beatles.

‐ Yeah.

‐ A lot of our influences
were, like, really good.

‐ Yeah.

‐ You know, sort of
spiritual meditation,

this kind of thing,

and, you know, so I think we laid out
a few paths for people to follow.

And it has, I think it's had
a good effect on the world, you know.

‐ Absolutely.

‐ But you're looking back on it,
it's a great blessing

that people picked up on it

and it actually helped them
in their lives,

and that's a great thing.

Hey, Jude

Don't make it bad

‐ Take a sad song

And make it better

Remember to let her
under your skin

Then you'll begin

To make it better

Better, better,
better, better, better

Oh yeah

Yeah, yeah, yeah,
yeah, yeah, yeah, yeah

‐ Na na na na

Na na na na

Hey, Jude

Naa na na na na na na

Na na na na

Hey, Jude

Naa na na na na na na

Na na na na

Hey, Jude

Naa na na na na na na

‐ Oh yeah

‐ Na na na na

Hey, Jude

Naa na na na na na na

Na na na na

Hey, Jude

‐ Jude, Jude, Judy,
Judy, Judy, Judy

‐ Naa na na na na na na

Na na na na

Hey, Jude

‐ Come on and make it, Judy

‐ Naa na na na na na na
‐ Yeah, yeah, yeah

‐ Na na na na

Hey, Jude

‐ Yeah, yeah, yeah, yeah,
yeah, yeah, yeah, yeah

‐ Naa na na na na na na

Na na na na

Hey, Jude

Goodnight, ladies and gentlemen.

‐ Naa na na na na na na

Na na na na

Hey, Jude

Naa na na na na na na

‐ Oh yeah, yeah

‐ Na na na na

Hey, Jude

Naa na na na na na na ‐ Oh, yeah

Take a load off, baby

‐ Na na na na

Hey, Jude

‐ Take a load off for me

Put it back on me