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(♪ Reverberating chord)
2
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It's 25 years now since it was issued,
3
00:00:15,515 --> 00:00:18,384
and there aren't many records
which really last in the memory
4
00:00:18,484 --> 00:00:20,286
for a quarter of a century.
5
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I suppose it is a museum piece.
6
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♪ It was twenty years ago today
7
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♪ Sgt. Pepper taught the band to play... ♪
8
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(George Martin)
It invoked the spirit of the age,
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of the Carnaby Street and Mary Quant.
10
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It was a joyous spurting-out of life.
11
00:00:37,169 --> 00:00:39,539
♪ The act you've known
for all these years
12
00:00:39,639 --> 00:00:43,376
♪ Sgt. Pepper's
Lonely Hearts Club Band J
13
00:00:43,476 --> 00:00:47,246
♪ I get by with a little help
from my friends... ♪
14
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It was colourful, and it was peace,
and it was love, and it was music.
15
00:00:50,550 --> 00:00:55,187
♪ Lucy in the sky with diamonds... ♪
16
00:00:55,288 --> 00:00:58,558
The songwriting team thing will keep
going on whatever happens, will it?
17
00:00:58,658 --> 00:01:02,094
Yeah, we'll probably carry on
writing music forever, you know?
18
00:01:02,595 --> 00:01:06,098
♪ It's getting better all the time... ♪
19
00:01:06,198 --> 00:01:08,067
That's probably the big difference,
20
00:01:08,167 --> 00:01:10,536
is that people played it a bit safe
in popular music,
21
00:01:10,636 --> 00:01:13,706
but I think that's what we suddenly
realised, that you didn't have to.
22
00:01:13,806 --> 00:01:18,110
♪ I'm fixing a hole
where the rain gets in J
23
00:01:18,210 --> 00:01:23,382
-♪ She...
- ♪ We gave her most of our lives
24
00:01:23,482 --> 00:01:25,384
♪ Is leaving... ♪
25
00:01:25,484 --> 00:01:27,820
♪ For the benefit of Mr Kite
26
00:01:27,920 --> 00:01:31,524
♪ There will be a show tonight
on trampoline J
27
00:01:31,624 --> 00:01:35,962
♪ We were talking
28
00:01:36,062 --> 00:01:38,130
♪ About the... ♪
29
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I remember track by track,
it was exciting at that time,
30
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nothing like it had ever been.
31
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♪ Will you still need me,
will you still feed me
32
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♪ When I'm sixty-four J
33
00:01:49,542 --> 00:01:52,111
♪ Lovely Rita meter maid
34
00:01:52,211 --> 00:01:54,814
♪ Nothing can come between us
35
00:01:54,914 --> 00:01:58,484
♪ When it gets dark,
I tow your heart away J
36
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♪ Good morning, good morning,
good morning J
37
00:02:02,421 --> 00:02:08,494
♪ Sgt. Pepper's Lonely Hearts Club... ♪
38
00:02:10,096 --> 00:02:12,932
♪ Found my way downstairs
and drank a cup
39
00:02:13,032 --> 00:02:15,768
♪ And looking up I noticed I was late
40
00:02:17,303 --> 00:02:19,472
♪ Found my coat and grabbed my hat
41
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♪ Made the bus in seconds flat J
42
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(George Martin) In 1966,
43
00:02:24,310 --> 00:02:27,346
the Beatles had been working
most successfully for three years.
44
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They'd conquered the world in a way
nobody else had done before.
45
00:02:30,716 --> 00:02:34,987
♪ Ah, ah-ah-ah
46
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♪ Ah-ah-ah... ♪
47
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And yet, things started to fall apart.
48
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All sorts of troubles beset them.
49
00:02:45,464 --> 00:02:46,966
John Lennon had made
his famous remark
50
00:02:47,066 --> 00:02:49,268
about being more popular
than Jesus Christ,
51
00:02:49,368 --> 00:02:54,040
which, although arguably true,
caused a great deal of upset in America.
52
00:03:05,251 --> 00:03:07,987
They were performing incessantly.
53
00:03:08,087 --> 00:03:10,356
They had heavy guards
wherever they went.
54
00:03:11,390 --> 00:03:14,360
And when they went to the Philippines,
they barely escaped with their lives
55
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after they'd offended President Marcos
56
00:03:16,662 --> 00:03:19,198
by not turning up
at one of his receptions.
57
00:03:19,298 --> 00:03:23,369
And Imelda Marcos was outraged
at the way the Beatles had ignored her.
58
00:03:23,469 --> 00:03:26,906
So, they decided they didn't want
to tour again. They were fed up.
59
00:03:27,473 --> 00:03:30,576
They really wanted to lead
something of a normal life.
60
00:03:33,479 --> 00:03:37,817
I remember we all used to run in the back
of these big vans they'd hired.
61
00:03:38,551 --> 00:03:42,054
And this one was like
a silver-lined van, chromium,
62
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nothing in it, like a furniture van
with nothing in it, just chrome.
63
00:03:45,825 --> 00:03:49,495
And we were all piled into this
after this really miserable gig.
64
00:03:49,595 --> 00:03:51,197
And I said, "Right, that's it!"
65
00:03:51,630 --> 00:03:53,966
No, we were absolutely fed up
with touring.
66
00:03:54,066 --> 00:03:56,168
And why were we fed up with touring?
67
00:03:56,268 --> 00:03:59,472
Because we were turning
into such bad musicians.
68
00:04:00,339 --> 00:04:03,709
Because the volume of the audience
69
00:04:03,809 --> 00:04:06,579
was always greater
than the volume of the band.
70
00:04:06,679 --> 00:04:10,082
And for me personally,
71
00:04:10,182 --> 00:04:13,552
on stage there was no chance in hell
I could do a fill,
72
00:04:13,652 --> 00:04:15,087
because it would just disappear.
73
00:04:15,187 --> 00:04:18,390
So I ended up just hanging on
to the off-beats
74
00:04:18,491 --> 00:04:20,326
and watching the other guys' bums
75
00:04:20,426 --> 00:04:23,496
and trying to lip-read
to see where we were, you know?
76
00:04:23,596 --> 00:04:26,899
It sounds marvellous,
being a multi-millionaire pop star,
77
00:04:26,999 --> 00:04:30,336
having the whole world at your feet,
girls screaming wherever you go.
78
00:04:30,436 --> 00:04:32,204
In actual fact, it's hell.
79
00:04:32,772 --> 00:04:35,508
And that was happening
wherever we went, even in India.
80
00:04:35,608 --> 00:04:38,477
You know, we went to India
from the Philippines.
81
00:04:38,577 --> 00:04:41,313
I planned to go there
to buy a sitar, actually.
82
00:04:41,747 --> 00:04:43,949
I was thinking, "At least
this is going to be one place
83
00:04:44,049 --> 00:04:46,018
"where we can have a bit of peace."
84
00:04:46,118 --> 00:04:49,421
And when we got off the plane, there
was all these Indian faces in the night,
85
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all shouting, "Beatles! Beatles!"
86
00:04:52,224 --> 00:04:54,460
Paul went to Kenya,
87
00:04:54,560 --> 00:04:57,897
went on a safari trip
as I remember,
88
00:04:57,997 --> 00:05:02,501
and John had already been
booked by Richard Lester
89
00:05:02,601 --> 00:05:04,470
for a part in "How I Won The War".
90
00:05:04,870 --> 00:05:07,106
So he went off to Spain to film.
91
00:05:07,206 --> 00:05:11,243
And Ringo joined him there for a while,
just to hang around with him.
92
00:05:12,044 --> 00:05:16,348
George went to India
and worked with Ravi Shankar.
93
00:05:16,448 --> 00:05:19,852
There was no question
of disbanding at that point.
94
00:05:19,952 --> 00:05:21,987
It was just,
"We gotta get off this road."
95
00:05:22,087 --> 00:05:26,325
(Paul) And at that time, a lot of other things
were changing. Society was changing.
96
00:05:26,425 --> 00:05:30,763
The psychedelic era was coming in,
and we were very much part of that.
97
00:05:31,230 --> 00:05:32,731
And I think we really felt that
98
00:05:32,832 --> 00:05:36,702
it could be done better from a record
than from anything else.
99
00:05:37,369 --> 00:05:40,372
The record could go on tour,
was the theory.
100
00:05:41,207 --> 00:05:42,608
I think Paul made the phone call.
101
00:05:42,708 --> 00:05:45,311
Paul always made the phone call.
"Let's go back to the studio, lads."
102
00:05:45,411 --> 00:05:49,014
It used to terrify John and
cos we'd be in the garden,
103
00:05:49,114 --> 00:05:53,052
and Paul would want us to work
all the time, cos he's the workaholic.
104
00:05:54,920 --> 00:05:58,157
(George Martin)
On 24th November 1966, a Thursday,
105
00:05:58,257 --> 00:06:02,928
the Beatles came into Abbey Road
Studios to start the new album.
106
00:06:03,028 --> 00:06:06,832
And the track they started with
didn't appear on the album.
107
00:06:06,932 --> 00:06:09,134
It was a song called "Strawberry Fields”,
108
00:06:09,235 --> 00:06:12,705
and the way it was done that night,
that Thursday,
109
00:06:12,805 --> 00:06:16,041
was virtually complete,
we actually made virtually a master.
110
00:06:17,042 --> 00:06:19,745
And it was the way I heard it originally
when John sang it to me,
111
00:06:19,845 --> 00:06:23,315
and it was a sweet, gentle,
simple song,
112
00:06:23,415 --> 00:06:25,084
starting with the verse, you'll notice,
113
00:06:25,184 --> 00:06:27,953
- not the chorus.
- ♪ Misunderstanding all you see
114
00:06:30,022 --> 00:06:32,958
♪ It's getting hard to be someone,
but it all works out... ♪
115
00:06:33,058 --> 00:06:37,396
We were still in our primitive state
in technology in those days, 1966.
116
00:06:37,496 --> 00:06:39,832
We were just recording on 4-track.
117
00:06:39,932 --> 00:06:43,569
- ♪ No one I think is in my tree
- Bass and guitar, add to it.
118
00:06:45,170 --> 00:06:48,040
- ♪ I mean, it must be high or low
- Still nothing else.
119
00:06:48,140 --> 00:06:50,142
Dead simple.
120
00:06:50,242 --> 00:06:54,413
♪ That is you can't you know tune in,
but it's all right... ♪
121
00:06:55,381 --> 00:06:59,618
Now we have a slide guitar
played by George added.
122
00:06:59,718 --> 00:07:02,454
- Curiously enough, on the vocal track.
- ♪ Let me take you down
123
00:07:02,554 --> 00:07:04,823
- Listen.
- ♪ Cos I'm going to
124
00:07:05,925 --> 00:07:08,227
- ♪ Strawberry Fields
- Just on the vocal track.
125
00:07:10,996 --> 00:07:13,232
♪ Nothing is real
126
00:07:14,333 --> 00:07:18,070
♪ And nothing to get hung about
127
00:07:18,170 --> 00:07:21,240
♪ Strawberry Fields forever
128
00:07:22,675 --> 00:07:24,677
♪ Strawberry Fields forever... ♪
129
00:07:24,777 --> 00:07:27,012
I think that version is very charming.
130
00:07:27,112 --> 00:07:29,548
♪ Strawberry Fields forever J
131
00:07:29,648 --> 00:07:32,584
A very simple version
of a very simple song.
132
00:07:33,485 --> 00:07:37,356
But in fact, it never appeared like that,
and no one's ever heard that one since.
133
00:07:37,923 --> 00:07:39,191
We left that evening,
134
00:07:39,291 --> 00:07:43,195
and John thought about it, and
Paul thought about it over the weekend,
135
00:07:43,295 --> 00:07:46,031
and on Monday we tackled it
again quite differently.
136
00:07:46,565 --> 00:07:49,001
John decided he wanted it
in a lower key.
137
00:07:49,101 --> 00:07:50,903
It had an introduction
for the first time
138
00:07:51,003 --> 00:07:54,540
which was played on that
weird instrument, the mellotron,
139
00:07:54,640 --> 00:07:56,809
and became a really key feature.
140
00:07:57,409 --> 00:08:00,412
And it started with the chorus
rather than the verse.
141
00:08:00,512 --> 00:08:02,948
(♪ Intro to "Strawberry Fields Forever”
on mellotron)
142
00:08:04,583 --> 00:08:06,585
"Strawberry Fields" immediately, isn't it?
143
00:08:10,789 --> 00:08:12,725
♪ Let me take you down
144
00:08:12,825 --> 00:08:16,161
- Double-tracked voice right away.
- ♪ Cos I'm going to
145
00:08:16,261 --> 00:08:17,429
♪ Strawberry Fields... ♪
146
00:08:17,529 --> 00:08:20,466
Again, all rhythm instruments
on one track.
147
00:08:22,468 --> 00:08:24,803
Voices on three and four.
148
00:08:25,337 --> 00:08:28,674
♪ And nothing to get hung about... ♪
149
00:08:28,774 --> 00:08:32,478
But John thought about it and said,
"I think I can do it better than that."”
150
00:08:32,578 --> 00:08:36,081
He said, "I want to have
a bit more bite in it. Brass. Strings."
151
00:08:36,181 --> 00:08:38,550
So, I said,
"OK, let's give it a whirl."
152
00:08:39,551 --> 00:08:44,289
♪ Let me take you down cos I'm going to
153
00:08:44,390 --> 00:08:46,725
♪ Strawberry Fields... ♪
154
00:08:48,127 --> 00:08:53,799
Double-tracked voices on three and four,
but with percussion as well on three.
155
00:08:55,000 --> 00:08:58,037
♪ Strawberry Fields forever... ♪
156
00:08:58,137 --> 00:09:00,005
Swarmandala.
157
00:09:02,541 --> 00:09:05,944
An Indian instrument
that George had brought back.
158
00:09:06,045 --> 00:09:08,947
Like a kind of harp.
Had a marvellous effect.
159
00:09:10,849 --> 00:09:14,286
♪ That is you can't you know tune in,
but it's all right
160
00:09:14,386 --> 00:09:18,924
- Backward cymbal on track one.
- ♪ That is I think it's not too bad... ♪
161
00:09:20,325 --> 00:09:21,660
(Imitates backward cymbal)
162
00:09:21,760 --> 00:09:24,696
Always sounds like
Russian language to me.
163
00:09:24,797 --> 00:09:27,132
♪ Strawberry Fields
164
00:09:28,967 --> 00:09:30,102
♪ Nothing is real... ♪
165
00:09:30,202 --> 00:09:32,871
Brass stabs and so on with a cello.
166
00:09:32,971 --> 00:09:36,975
But underlying it all,
this wonderful rhythm section.
167
00:09:37,910 --> 00:09:40,679
(5 Drums play)
168
00:09:40,779 --> 00:09:42,848
About nine or ten players there.
169
00:09:44,850 --> 00:09:47,753
♪ Strawberry Fields forever
170
00:09:48,687 --> 00:09:51,723
♪ Strawberry Fields forever
171
00:09:51,824 --> 00:09:54,526
♪ Strawberry Fields forever J
172
00:09:54,626 --> 00:09:57,563
Well, we finished up then with a track
173
00:09:57,663 --> 00:10:00,265
which would show the way
that "Pepper" was going to be.
174
00:10:00,365 --> 00:10:03,902
This was our first psychedelic track.
175
00:10:04,002 --> 00:10:07,139
I mean, when I started songwriting,
it wasn't to write rock 'n' roll,
176
00:10:07,239 --> 00:10:09,341
it was to write for Sinatra.
177
00:10:09,441 --> 00:10:11,210
It was to write cabaret.
178
00:10:11,310 --> 00:10:14,746
In fact, one of my first songs was
"When I'm Sixty-Four”, which was...
179
00:10:14,847 --> 00:10:18,016
♪ Da-da-doo-da-da,
ba-dee-oo-eh, hey! Ooh bop! ♪
180
00:10:18,117 --> 00:10:20,385
You know, it's big band stuff
kind of thing.
181
00:10:20,486 --> 00:10:25,991
And so your aims weren't set
to doing rock 'n' roll.
182
00:10:26,091 --> 00:10:28,961
But when we started working together,
183
00:10:29,061 --> 00:10:32,030
I think... I certainly,
and I think John, too,
184
00:10:32,598 --> 00:10:36,001
wanted to be a Rodgers and
Hammerstein, a Lennon/McCartney.
185
00:10:36,101 --> 00:10:40,005
We consciously wanted to be a team.
186
00:10:40,105 --> 00:10:42,708
I mean, the funny things is,
I wanted McCartney/Lennon,
187
00:10:42,808 --> 00:10:45,144
but of course John was
always bossier and he said,
188
00:10:45,244 --> 00:10:48,514
"No, no, it sounds much better
the other way, Lennon/McCartney."
189
00:10:48,614 --> 00:10:49,848
So I gave in.
190
00:10:49,948 --> 00:10:52,551
The next song we did, actually,
was "When I'm Sixty-Four”,
191
00:10:52,651 --> 00:10:56,488
but that was one that harked back
quite a long way.
192
00:10:56,588 --> 00:11:00,792
The one immediately after that was
curiously allied to "Strawberry Fields".
193
00:11:00,893 --> 00:11:01,927
It was "Penny Lane".
194
00:11:02,361 --> 00:11:04,363
Penny Lane was a place
that John knew about,
195
00:11:04,463 --> 00:11:07,533
so for me to just say,
"I've got a song called 'Penny Lane",
196
00:11:07,633 --> 00:11:09,501
he knew exactly what I was doing.
197
00:11:09,601 --> 00:11:11,170
Similarly, "Strawberry Fields".
198
00:11:11,270 --> 00:11:15,741
I knew about that from when I used
to go and visit him when we were kids.
199
00:11:15,841 --> 00:11:17,543
It was the place right opposite him,
200
00:11:17,643 --> 00:11:20,512
where you used to go and play
in the garden.
201
00:11:20,612 --> 00:11:24,082
So it was kind of a magical
childhood place for him.
202
00:11:24,183 --> 00:11:28,487
And we transformed it
into the sort of psychedelic dream.
203
00:11:28,587 --> 00:11:32,224
It's like everybody's magic place,
instead of just ours.
204
00:11:32,324 --> 00:11:36,461
We took them from being little localised
things and made them more global.
205
00:11:36,562 --> 00:11:40,332
(♪ Johann Sebastian Bach:
"Brandenburg Concerto No.2 In F Major")
206
00:11:45,771 --> 00:11:49,174
That actually was what
Paul heard me play on television.
207
00:11:49,274 --> 00:11:51,777
It's the second "Brandenburg Concerto”,
as you know.
208
00:11:51,877 --> 00:11:56,381
And he was obviously sitting at home
and saw this little trumpet,
209
00:11:56,481 --> 00:11:59,952
and thought, "Well, that's a new
gimmick and a new sound,”
210
00:12:00,052 --> 00:12:04,156
and he'd just written "Penny Lane"
and had had a rather bad backing track,
211
00:12:04,256 --> 00:12:07,593
so apparently that was
how I came to do it.
212
00:12:08,060 --> 00:12:10,529
And eventually, of course,
we got to what he liked,
213
00:12:10,629 --> 00:12:13,398
and this is what he wrote.
214
00:12:14,499 --> 00:12:16,868
(♪ Plays solo from "Penny Lane")
215
00:12:19,638 --> 00:12:22,507
(♪ THE BEATLES:
"Penny Lane")
216
00:12:30,782 --> 00:12:33,785
♪ Penny Lane is in my ears... ♪
217
00:12:33,885 --> 00:12:36,421
(George Martin) The reason that
"Strawberry Fields" and "Penny Lane"
218
00:12:36,521 --> 00:12:37,923
didn't appear on the album
219
00:12:38,023 --> 00:12:40,259
was that Brian Epstein,
their manager, was worried,
220
00:12:40,359 --> 00:12:43,028
and said to me, "The boys need a lift.
They need a great single.
221
00:12:43,128 --> 00:12:44,763
"What have you got?"
222
00:12:44,863 --> 00:12:47,332
Well, I said,
"We've got two wonderful songs.
223
00:12:47,432 --> 00:12:49,134
"Let's issue them both."
224
00:12:49,234 --> 00:12:51,637
In those days, we didn't include
single releases on albums,
225
00:12:51,737 --> 00:12:53,905
as we thought that was
rather conning the public.
226
00:12:54,006 --> 00:12:56,441
One of the biggest errors I ever made.
227
00:12:56,541 --> 00:12:58,310
(♪ ENGELBERT HUMPERDINCK:
"Release Me")
228
00:12:58,410 --> 00:13:02,314
♪ Please release me
229
00:13:02,414 --> 00:13:06,151
♪ Can't you see... ♪
230
00:13:06,251 --> 00:13:09,321
A newcomer with the unlikely name
of Engelbert Humperdinck
231
00:13:09,421 --> 00:13:11,923
had a song called "Please Release Me",
232
00:13:12,024 --> 00:13:17,796
and for the first time, a Beatles single
failed to reach No.1 in the UK charts.
233
00:13:21,199 --> 00:13:28,473
♪ To live a lie would be a sin J
234
00:13:31,310 --> 00:13:36,748
(George Harrison) We were in this
big white room that was very dirty.
235
00:13:36,848 --> 00:13:39,451
It hadn't been painted
for years and years,
236
00:13:39,551 --> 00:13:42,754
and it had all these old sound baffles
hanging down
237
00:13:42,854 --> 00:13:45,424
that were all dirty and broken.
238
00:13:45,524 --> 00:13:47,159
Not a very nice atmosphere.
239
00:13:47,259 --> 00:13:51,363
When you think of the songs
that were made in that studio, No.2,
240
00:13:51,463 --> 00:13:53,732
it's amazing, cos there was
no atmosphere in there.
241
00:13:53,832 --> 00:13:56,368
We had to make the atmosphere
ourselves.
242
00:13:56,468 --> 00:13:59,371
The great thing about these studios
in Abbey Road
243
00:13:59,471 --> 00:14:02,708
was that you were always
bumping into people.
244
00:14:02,808 --> 00:14:06,111
Sir Malcolm Sargent would look in
at the session and wave
245
00:14:06,211 --> 00:14:09,514
in his pin-striped suit and his carnation:
"Hello, boys."
246
00:14:09,614 --> 00:14:12,150
And George would say,
"Sir Malcolm would like to say hello."
247
00:14:12,250 --> 00:14:14,953
"Hello, Mal." "Hello, boys."
248
00:14:15,053 --> 00:14:17,689
I remember seeing Sir Tyrone Guthrie
on the steps here,
249
00:14:17,789 --> 00:14:19,758
you know, the great man himself.
250
00:14:19,858 --> 00:14:21,259
So, it was always very like that.
251
00:14:21,760 --> 00:14:26,298
It was a joke, really.
They had this toilet paper like lino
252
00:14:26,398 --> 00:14:29,468
that had EMI on every piece.
253
00:14:29,568 --> 00:14:32,304
The refrigerator had a padlock on it,
254
00:14:32,404 --> 00:14:34,373
so if you wanted a cup of tea,
255
00:14:34,473 --> 00:14:38,310
we'd have to break open the padlock
on the fridge to get the milk out.
256
00:14:38,410 --> 00:14:42,147
EMI being this huge monster company,
257
00:14:42,247 --> 00:14:46,618
when they bought the 8-track,
the first 8-track in England,
258
00:14:46,718 --> 00:14:49,821
they were so cheap,
they didn't buy the plug to plug it in.
259
00:14:49,921 --> 00:14:52,557
It was going to be boring
to just make another Beatles album.
260
00:14:52,657 --> 00:14:57,429
And we'd stopped touring, we now had
this huge, liberated opportunity.
261
00:14:57,529 --> 00:14:59,464
We could do anything we wanted.
262
00:14:59,564 --> 00:15:02,768
I went on a trip to America
and came back
263
00:15:02,868 --> 00:15:05,003
and had this idea on the plane.
264
00:15:05,103 --> 00:15:07,372
"Sgt. Pepper's
Lonely Hearts Club Band".
265
00:15:07,472 --> 00:15:11,143
It was all very
"Uncle Joe's Medicine Show
266
00:15:11,243 --> 00:15:15,247
"with dancing bears
and elixir of life",
267
00:15:15,347 --> 00:15:17,549
you know,
those kind of jokey titles.
268
00:15:17,649 --> 00:15:19,951
Everything about the album
will be imagined
269
00:15:20,051 --> 00:15:22,053
from the perspective of these people.
270
00:15:22,154 --> 00:15:23,889
So it doesn't have to be us,
271
00:15:23,989 --> 00:15:26,091
it doesn't have to be the kind of song
you want to write,
272
00:15:26,191 --> 00:15:28,427
it could be the song
they might want to write.
273
00:15:29,027 --> 00:15:31,463
(George Martin) "Sgt. Pepper”,
the opening track of the album,
274
00:15:31,563 --> 00:15:34,299
really a good, old-fashioned rocker,
275
00:15:34,766 --> 00:15:38,670
starts off with applause
or rather atmosphere noise
276
00:15:38,770 --> 00:15:42,741
from a recording I made up in Cambridge
with the Beyond The Fringe crowd,
277
00:15:42,841 --> 00:15:45,277
Dudley Moore and company,
278
00:15:45,377 --> 00:15:49,314
and this super electric guitar.
279
00:15:50,382 --> 00:15:54,553
And tied together beautifully
by a great rock voice from Paul.
280
00:15:54,653 --> 00:15:56,721
- ♪ It was 20 years ago today
- Listen to this.
281
00:15:56,822 --> 00:15:59,324
♪ Sgt. Pepper
taught the band to play
282
00:15:59,424 --> 00:16:01,927
♪ They've been going
in and out of style
283
00:16:02,027 --> 00:16:03,695
♪ But they're guaranteed
to raise a smile
284
00:16:03,795 --> 00:16:07,132
- He got sawdust in his voice there.
- ♪ So may I introduce to you
285
00:16:07,232 --> 00:16:09,768
♪ The act you've known
for all these years... ♪
286
00:16:09,868 --> 00:16:14,206
And then a bit of classical work,
bringing in four French horns.
287
00:16:15,640 --> 00:16:18,176
(♪ French horns play)
288
00:16:21,246 --> 00:16:25,250
Always there's the audience
punctuating the whole thing.
289
00:16:27,352 --> 00:16:29,287
♪ We're Sgt. Pepper's Lonely... ♪
290
00:16:29,387 --> 00:16:31,957
And then the chorus,
singing the chorus.
291
00:16:32,557 --> 00:16:36,194
♪ We hope you will enjoy the show
292
00:16:37,562 --> 00:16:42,400
♪ Sgt. Pepper's Lonely Hearts Club Band
293
00:16:42,501 --> 00:16:45,737
♪ Sit back and let the evening go... ♪
294
00:16:47,372 --> 00:16:49,508
And together with the audience
and the horns,
295
00:16:49,608 --> 00:16:53,011
it's an exciting thing saying,
"Come and join our show, listen to it.
296
00:16:53,111 --> 00:16:56,548
- "We're a great band."
- ♪ ...Lonely Hearts Club Band J
297
00:17:02,954 --> 00:17:05,924
(♪ THE BEATLES:
"Lucy In The Sky With Diamonds")
298
00:17:08,860 --> 00:17:13,932
♪ Picture yourself
IN a boat on a river
299
00:17:14,032 --> 00:17:20,205
♪ With tangerine trees
and marmalade skies
300
00:17:21,473 --> 00:17:26,878
♪ Somebody calls you,
you answer quite slowly... ♪
301
00:17:26,978 --> 00:17:28,680
(Ringo) I remember him
going up on the roof.
302
00:17:28,780 --> 00:17:31,816
John went up on the roof
and got lost and came back.
303
00:17:34,986 --> 00:17:36,321
♪ Cellophane flowers... ♪
304
00:17:36,421 --> 00:17:39,958
He took an aspirin. Know what I mean?
And it turned out to be something else.
305
00:17:40,325 --> 00:17:44,095
♪ Towering over your head... ♪
306
00:17:44,763 --> 00:17:47,065
(George Harrison)
He accidentally took some LSD.
307
00:17:47,165 --> 00:17:50,168
It'd certainly keep him awake
for a while.
308
00:17:53,204 --> 00:17:57,242
♪ Lucy in the sky with diamonds... ♪
309
00:17:57,342 --> 00:18:00,412
At that point, the session
was in effect over.
310
00:18:03,315 --> 00:18:05,884
I was rather offended
when the album came out
311
00:18:05,984 --> 00:18:09,054
and people said, "Lucy In The Sky
With Diamonds - LSD, you know?"
312
00:18:09,154 --> 00:18:10,155
Which was nonsense.
313
00:18:12,524 --> 00:18:14,859
(Paul) The real story about
"Lucy In The Sky With Diamonds" was
314
00:18:14,960 --> 00:18:17,529
I showed up at John's house one day,
315
00:18:17,629 --> 00:18:20,932
and he said to me, "Look at this
great drawing Julian's just done."
316
00:18:21,032 --> 00:18:22,968
And he showed me,
I remember it very well.
317
00:18:23,068 --> 00:18:27,439
It was a kid's drawing, and kids
always have people floating around
318
00:18:27,539 --> 00:18:30,508
like Chagall does in all his things.
They're always just floating.
319
00:18:30,609 --> 00:18:32,978
I think it's something to do
with kids not realising
320
00:18:33,078 --> 00:18:34,913
that people have to be put on the ground.
321
00:18:35,013 --> 00:18:38,083
I've seen the painting
that this little kid does.
322
00:18:38,183 --> 00:18:39,718
I don't know if you've got kids,
323
00:18:39,818 --> 00:18:42,654
but they just slap paint everywhere
and say it's a painting.
324
00:18:42,754 --> 00:18:46,758
And of course we put them in frames
and put them on the wall. And...
325
00:18:47,525 --> 00:18:50,462
And it was just this crazy little kid's
painting. "What is that?"
326
00:18:50,562 --> 00:18:52,664
John had said,
"What's it called, then?"
327
00:18:52,764 --> 00:18:56,267
And Julian had said,
"Lucy In The Sky With Diamonds."
328
00:18:56,368 --> 00:18:57,802
And John went, "Ding!"
329
00:18:59,804 --> 00:19:02,741
(George Martin) They were able to
conjure up a wonderful, evocative image
330
00:19:02,841 --> 00:19:04,576
with very sparse material.
331
00:19:05,043 --> 00:19:07,612
And the opening to "Lucy"
is really a case in point.
332
00:19:08,546 --> 00:19:11,549
(♪ Plays intro to
"Lucy In The Sky With Diamonds")
333
00:19:13,718 --> 00:19:16,021
And it's a most wonderful phrase.
334
00:19:16,121 --> 00:19:19,958
I think, if Beethoven was around,
he wouldn't have minded one of those.
335
00:19:20,925 --> 00:19:23,561
And over that very, very simple
and beautiful phrase,
336
00:19:23,662 --> 00:19:26,464
John sang just one note.
337
00:19:26,564 --> 00:19:31,036
He developed it. He had a way
of finding out what he wanted to sing,
338
00:19:31,136 --> 00:19:32,904
even as we were recording.
339
00:19:33,004 --> 00:19:36,007
But to begin with, all he sang was,
340
00:19:36,107 --> 00:19:41,046
"Picture yourself on a boat on a river..."
341
00:19:41,146 --> 00:19:44,382
♪ Newspaper taxis
appear on the shore... ♪
342
00:19:44,482 --> 00:19:47,252
Notice the tape echo
on the voice already,
343
00:19:47,352 --> 00:19:49,954
even though this is
a very early rehearsal take.
344
00:19:51,389 --> 00:19:53,958
♪ Climb in the back
with your head in the clouds... ♪
345
00:19:54,059 --> 00:19:55,894
- No bass again.
- No.
346
00:19:55,994 --> 00:20:00,498
Because it was much better for me
to work out the bass later, you know?
347
00:20:01,399 --> 00:20:04,235
And it allowed me to do...
348
00:20:04,903 --> 00:20:05,937
That's me.
349
00:20:06,037 --> 00:20:13,611
The good thing about doing it later was
it allowed me to get melodic bass lines.
350
00:20:13,712 --> 00:20:15,814
(♪ Imitates bass line)
351
00:20:15,914 --> 00:20:18,550
Which was always... All the bass lines
were always very interesting.
352
00:20:18,650 --> 00:20:22,320
On this album,
I think that was one of the reasons.
353
00:20:22,420 --> 00:20:27,659
♪ With plasticine porters
with looking glass ties
354
00:20:29,027 --> 00:20:34,032
♪ Suddenly someone
is there at the turnstile
355
00:20:34,132 --> 00:20:38,937
♪ The girl with the kaleidoscope eyes...
356
00:20:39,037 --> 00:20:40,205
Go for it!
357
00:20:40,305 --> 00:20:42,006
- (♪ Drum beats)
- Hey!
358
00:20:42,107 --> 00:20:48,346
The climate was influenced
by the psychedelic era.
359
00:20:48,446 --> 00:20:52,550
I think the only difficulty about
talking honestly about that period
360
00:20:52,650 --> 00:20:55,720
is that now the drug scene
is a much heavier thing,
361
00:20:55,820 --> 00:21:03,561
and if you're now in any way seen
to incite or advocate drug-taking,
362
00:21:03,661 --> 00:21:06,965
you're now talking about crack,
you're now talking about glue sniffing,
363
00:21:07,065 --> 00:21:09,200
you're now talking about
life-threatening things.
364
00:21:09,300 --> 00:21:13,638
So, I don't actually like doing it,
because it can easily be misconceived.
365
00:21:14,405 --> 00:21:16,141
If you could get back to the period
366
00:21:16,241 --> 00:21:19,911
and everyone could understand how
the period was and how innocent it was,
367
00:21:20,445 --> 00:21:22,680
then it is easier to talk about it.
368
00:21:23,748 --> 00:21:28,153
It mightn't have affected creativity
for other people.
369
00:21:28,253 --> 00:21:30,722
I know it did for us,
and it did for me.
370
00:21:30,822 --> 00:21:38,563
I mean, the first thing that people who
smoked marijuana and were into music
371
00:21:38,663 --> 00:21:43,067
is that somehow it focuses
your attention better on the music.
372
00:21:43,168 --> 00:21:46,471
And so you can hear it clearer.
373
00:21:46,571 --> 00:21:48,873
Or that's how it appeared to be.
374
00:21:50,175 --> 00:21:53,678
You could see things much different,
375
00:21:53,778 --> 00:21:57,282
I mean, LSD was something else.
It wasn't just...
376
00:21:57,382 --> 00:22:01,452
I mean, marijuana was just like
having a couple of beers, really,
377
00:22:01,553 --> 00:22:04,389
but LSD was more like
going to the moon.
378
00:22:04,489 --> 00:22:08,092
We found out very early on that,
379
00:22:08,193 --> 00:22:11,396
you know, if you played stoned
or derelict in any way,
380
00:22:11,496 --> 00:22:14,265
it was really shitty music,
you know?
381
00:22:14,365 --> 00:22:19,304
So we would have the experiences
and then bring that into the music later.
382
00:22:20,004 --> 00:22:24,776
Famous old story of one of the cleaners
at the Hammersmith Odeon saying,
383
00:22:24,876 --> 00:22:27,812
"That Ray Charles must be a mean git,
you know?
384
00:22:27,912 --> 00:22:32,150
"I just saw two of his musicians
in the toilets sharing a cigarette.
385
00:22:32,250 --> 00:22:33,751
"He can't pay them anything!"
386
00:22:33,852 --> 00:22:36,955
I knew that the boys smoked pot,
387
00:22:37,055 --> 00:22:41,125
and they equally knew that I disapproved,
and they never did it in front of me.
388
00:22:41,226 --> 00:22:43,528
They would always have Mal
roll them a joint
389
00:22:43,628 --> 00:22:46,231
and they'd nip out to the canteen
and lock it
390
00:22:46,331 --> 00:22:49,133
or else to the loo and have a smoke
and come back again,
391
00:22:49,234 --> 00:22:50,568
beaming all over their faces.
392
00:22:51,269 --> 00:22:52,971
(Paul) We mainly wrote
in the afternoons.
393
00:22:53,071 --> 00:22:55,640
I'd either go to John's house
or he'd come to mine.
394
00:22:55,740 --> 00:22:57,442
So I'd drive out to Weybridge.
395
00:22:57,542 --> 00:23:00,812
Now, you don't want
to be stoned doing that.
396
00:23:00,912 --> 00:23:03,882
So we'd go out, and we'd have
an afternoon of it,
397
00:23:03,982 --> 00:23:08,152
and it would be later, listening,
in the evening
398
00:23:08,686 --> 00:23:12,056
that the little wine might come out
and this and that might come out.
399
00:23:12,156 --> 00:23:14,592
But I say, you know...
it's very difficult for me
400
00:23:14,692 --> 00:23:17,862
because I realise now
being a father of four kids
401
00:23:17,962 --> 00:23:21,699
that if I make this sound
as exciting as it was,
402
00:23:21,799 --> 00:23:24,168
the natural corollary is
for someone to say,
403
00:23:24,269 --> 00:23:26,471
"Well, why don't we write like that?"
404
00:23:26,571 --> 00:23:28,806
And I don't want to be seen to do that,
405
00:23:28,907 --> 00:23:31,743
cos now, as I say, it's a much more
dangerous ballgame.
406
00:23:31,843 --> 00:23:34,212
There was a kind of spirit of adventure
that they both had.
407
00:23:34,312 --> 00:23:36,080
They were going to conquer the world.
408
00:23:36,180 --> 00:23:38,616
But there was that element
of competition,
409
00:23:38,716 --> 00:23:42,020
and the competition was the essential
thing that made them work so well.
410
00:23:42,120 --> 00:23:45,556
He'd write "Strawberry Fields",
I'd go away and write "Penny Lane".
411
00:23:45,657 --> 00:23:51,229
If I'd write "I'm Down", he'd go away
and write something similar to that,
412
00:23:51,329 --> 00:23:53,131
to compete with each other.
413
00:23:53,231 --> 00:23:55,466
But it was very friendly competition,
414
00:23:55,566 --> 00:23:58,102
because we were both going to share
in the rewards anyway.
415
00:23:58,202 --> 00:24:01,472
But it was a real... it was this.
It really helped step...
416
00:24:01,572 --> 00:24:04,375
So we were getting better and better
and better all the time.
417
00:24:05,443 --> 00:24:09,280
(George Martin) John and Paul always
wrote a song for Ringo on every album.
418
00:24:09,380 --> 00:24:12,417
"With A Little Help From My Friends"
proved to be the song.
419
00:24:12,817 --> 00:24:16,287
And Paul wrote that song
and wrote it beautifully simply
420
00:24:16,387 --> 00:24:19,190
with just five notes
that Ringo had to carry,
421
00:24:19,290 --> 00:24:24,062
all within one little phrase,
which was...
422
00:24:24,162 --> 00:24:27,365
(♪ Plays "With A Little Help
From My Friends")
423
00:24:31,035 --> 00:24:33,037
All in those notes.
424
00:24:34,639 --> 00:24:37,175
Terribly simple. Terribly effective.
425
00:24:38,443 --> 00:24:42,013
♪ What would you think
if I sang out of tune... ♪
426
00:24:42,914 --> 00:24:45,850
Like his drumming,
Ringo's voice is most distinctive.
427
00:24:45,950 --> 00:24:48,686
And on this track,
he put in a really super performance
428
00:24:48,786 --> 00:24:50,822
that makes the song his very own.
429
00:24:50,922 --> 00:24:54,525
♪ And I'll try not to sing out of key
430
00:24:54,625 --> 00:24:58,863
♪ Oh, I get by
with a little help from my friends
431
00:24:58,963 --> 00:25:02,934
♪ Mmh, I get high
with a little help from my friends... ♪
432
00:25:03,034 --> 00:25:05,169
The original line was,
433
00:25:05,269 --> 00:25:07,305
"What would you do
if I sang out of tune,
434
00:25:07,405 --> 00:25:10,274
"would you stand up
and throw tomatoes at me?"
435
00:25:10,375 --> 00:25:12,343
Or "Would you throw tomatoes at me?”,
436
00:25:12,443 --> 00:25:15,613
and I would not sing that line,
"tomatoes at me", because...
437
00:25:16,581 --> 00:25:18,249
I hated the line anyway,
438
00:25:18,349 --> 00:25:22,520
and in those days they used to throw
all sorts of stuff at us on stage,
439
00:25:22,620 --> 00:25:25,390
and I didn't want this
to become a habit either.
440
00:25:25,490 --> 00:25:28,693
And I just hated the line, so I refused
to sing that line, "tomatoes",
441
00:25:28,793 --> 00:25:33,031
so they changed it to, "Would you
stand up and walk out on me?"
442
00:25:33,564 --> 00:25:37,735
♪ Do you need anybody
443
00:25:38,703 --> 00:25:42,006
♪ I need somebody to love... ♪
444
00:25:42,106 --> 00:25:43,875
Besides changing that line,
445
00:25:43,975 --> 00:25:48,112
it took a lot of coaxing from Paul
to get me to sing that last note.
446
00:25:48,746 --> 00:25:51,149
I just felt it was very high.
447
00:25:51,249 --> 00:25:53,451
I always worry about the vocals,
you know?
448
00:25:53,551 --> 00:25:57,422
I'm insecure when I do the vocals.
I still am, and I was then.
449
00:25:57,522 --> 00:26:03,294
And so he would get me up,
and we finally got that last note.
450
00:26:03,394 --> 00:26:08,466
♪ ...from my friends J
451
00:26:11,035 --> 00:26:13,704
(George Martin) The role of a producer
had changed over the years.
452
00:26:13,805 --> 00:26:16,074
I mean, when we started in 1962,
453
00:26:16,174 --> 00:26:18,910
my job was really an organiser
to get them into some kind of shape,
454
00:26:19,010 --> 00:26:22,313
make sure they were tidy in the studio,
musically, I mean.
455
00:26:22,413 --> 00:26:23,714
Gradually that changed.
456
00:26:23,815 --> 00:26:25,750
By the time "Pepper” had come along,
457
00:26:25,850 --> 00:26:29,821
I suppose I was a realiser
of their ideas,
458
00:26:30,488 --> 00:26:33,691
so that if John wanted
something really weird,
459
00:26:33,791 --> 00:26:35,359
I had to try and provide it for him.
460
00:26:35,460 --> 00:26:38,863
Or if Paul wanted some
extraordinary orchestration,
461
00:26:38,963 --> 00:26:41,532
I had to try and find out
what he wanted.
462
00:26:41,632 --> 00:26:46,704
What I think his great skill then was
to allow us to do what we wanted.
463
00:26:46,804 --> 00:26:50,675
So his role changed
from really deciding what was done
464
00:26:50,775 --> 00:26:52,410
to allowing us to do it.
465
00:26:52,777 --> 00:26:55,313
I think the role with George
became easier,
466
00:26:55,413 --> 00:26:59,350
because at first he was to us...
we were kind of frightened,
467
00:26:59,450 --> 00:27:01,452
because we were these nervous kids,
468
00:27:01,552 --> 00:27:05,089
and he was like this big
schoolteacher sort of person
469
00:27:05,189 --> 00:27:10,728
who we had to find
and have a relationship with.
470
00:27:10,828 --> 00:27:12,830
George was like the big cheese.
471
00:27:12,930 --> 00:27:15,233
He would come in as the producer,
472
00:27:15,333 --> 00:27:18,035
and we were all a little...
not afraid, but...
473
00:27:18,136 --> 00:27:20,338
We knew he was the man.
474
00:27:20,438 --> 00:27:24,475
And he was very good,
and he was very humorous, so...
475
00:27:24,575 --> 00:27:27,678
That's how George really got
into our good books,
476
00:27:27,778 --> 00:27:29,547
because we were very tight,
477
00:27:29,647 --> 00:27:32,216
the little four of us were
really tight together.
478
00:27:33,084 --> 00:27:35,453
Very seldom did we let anybody in.
479
00:27:35,953 --> 00:27:38,256
We always felt George
had just got off his Spitfire:
480
00:27:38,356 --> 00:27:41,192
"Oh, hello, chaps.
Yes, it's chocks away."
481
00:27:41,292 --> 00:27:43,728
We always felt
he was a bit one of them.
482
00:27:43,828 --> 00:27:45,997
And I think we just grew
through those years together,
483
00:27:46,097 --> 00:27:49,634
him as the straight man
and us as the loonies.
484
00:27:50,902 --> 00:27:55,506
He was always there for us
to interpret our strangeness.
485
00:27:55,606 --> 00:27:57,108
Da, da...
486
00:27:58,176 --> 00:28:00,611
(Ravi Shankar)
When George Harrison came to me,
487
00:28:00,711 --> 00:28:02,613
I didn't know what to think.
488
00:28:04,015 --> 00:28:06,751
But I found he really wanted to learn.
489
00:28:10,221 --> 00:28:13,424
I never thought our meeting
would cause such an explosion.
490
00:28:14,025 --> 00:28:16,894
(George Harrison)
I'd heard the name of Ravi Shankar,
491
00:28:16,994 --> 00:28:21,866
it must have been around 1965,
maybe 1966.
492
00:28:21,966 --> 00:28:25,369
The third time I heard this name,
I went out and bought the record.
493
00:28:25,803 --> 00:28:29,874
It was strange, because intellectually
I didn't know what it was.
494
00:28:29,974 --> 00:28:31,542
It didn't make any sense to me,
495
00:28:31,642 --> 00:28:34,445
but somewhere inside of me,
it made absolute sense.
496
00:28:34,545 --> 00:28:37,014
It made more sense
than anything I'd ever heard before.
497
00:28:37,114 --> 00:28:40,985
♪ We were talking
498
00:28:41,085 --> 00:28:48,125
♪ About the love that's gone so cold... ♪
499
00:28:48,226 --> 00:28:51,195
I found it very fascinating, actually,
working with George on that.
500
00:28:51,295 --> 00:28:54,298
Him trying to get
from English musicians
501
00:28:54,398 --> 00:28:56,601
what the Indians
were already giving us.
502
00:28:56,701 --> 00:28:59,904
It started out by George working
with a dilruba player,
503
00:29:00,004 --> 00:29:02,807
which is a kind of Indian violin.
504
00:29:02,907 --> 00:29:08,613
And then I had to copy that
with a bank of English violinists.
505
00:29:08,713 --> 00:29:11,415
Here we have the dilrubas on two,
506
00:29:11,515 --> 00:29:15,853
and our English instruments joining in
on track three,
507
00:29:15,953 --> 00:29:18,789
but George answering on sitar.
508
00:29:21,993 --> 00:29:23,461
Here it is.
509
00:29:23,561 --> 00:29:25,363
(♪ Sitar plays)
510
00:29:29,533 --> 00:29:32,870
And pizzicato strings
accompanying him.
511
00:29:32,970 --> 00:29:35,206
(♪ Pizzicato strings, cello)
512
00:29:35,873 --> 00:29:38,342
A bit of slurpy cello.
513
00:29:39,977 --> 00:29:42,313
Doing the same thing as the dilruba.
514
00:29:42,413 --> 00:29:44,849
(' Dilruba plays)
515
00:30:00,498 --> 00:30:03,768
♪ We were talking... ♪
516
00:30:04,602 --> 00:30:08,339
And here he is singing the same tune
as the dilruba
517
00:30:08,439 --> 00:30:11,275
in exactly the same way,
the same kind of swoops
518
00:30:11,375 --> 00:30:13,544
that the dilruba does.
519
00:30:13,644 --> 00:30:15,212
You hear his voice.
520
00:30:15,313 --> 00:30:17,415
You hear the dilruba.
521
00:30:19,383 --> 00:30:23,421
♪ And lose their soul... ♪
522
00:30:24,255 --> 00:30:26,957
(George Harrison) "Within You,
Without You" was just my way
523
00:30:27,058 --> 00:30:29,193
of trying to make a Western pop song
524
00:30:29,293 --> 00:30:32,530
using some of those instruments
and some of those sounds.
525
00:30:32,630 --> 00:30:34,932
We all knew George liked Indian music,
526
00:30:35,032 --> 00:30:37,835
and there was a kind of toleration,
if you like.
527
00:30:37,935 --> 00:30:42,373
But it was a welcome one,
because we actually liked the sounds.
528
00:30:43,474 --> 00:30:45,943
The joss sticks even were OK.
529
00:30:46,043 --> 00:30:48,679
They covered the smell of pot.
530
00:30:49,347 --> 00:30:51,148
(♪ THE BEACH BOYS:
"Wouldn't It Be Nice")
531
00:30:51,248 --> 00:30:53,784
♪ Wouldn't it be nice if we were older
532
00:30:53,884 --> 00:30:57,455
♪ Then we wouldn't have to
wait so long... ♪
533
00:30:57,888 --> 00:31:01,559
(Paul) To me, the single biggest influence
on "Sgt. Pepper”
534
00:31:01,659 --> 00:31:04,495
was the Beach Boys' record
"Pet Sounds".
535
00:31:04,595 --> 00:31:07,798
And I think Brian Wilson
was a great genius.
536
00:31:07,898 --> 00:31:10,668
♪ You know it's gonna make it
that much better
537
00:31:10,768 --> 00:31:16,173
♪ When we can say goodnight
and stay together... ♪
538
00:31:17,074 --> 00:31:21,011
I think of "Pet Sounds" in my head,
and I think of "Sgt. Pepper's”,
539
00:31:21,645 --> 00:31:24,081
and I think, "Gosh! That's not..."
540
00:31:24,782 --> 00:31:26,684
Those two albums
aren't very alike at all,
541
00:31:26,784 --> 00:31:29,019
only in that they're very creative.
542
00:31:29,120 --> 00:31:33,924
They must've picked up on the creativity
of "Pet Sounds”, not the sound.
543
00:31:34,024 --> 00:31:36,494
It's actually very clever on any level.
544
00:31:36,594 --> 00:31:39,764
If you approach it from a writer's
point of view, it's very cleverly written.
545
00:31:39,864 --> 00:31:42,366
The harmonic structures
are very, very clever.
546
00:31:42,466 --> 00:31:44,902
If you approach it
from an arranger's point of view,
547
00:31:45,002 --> 00:31:50,341
the kind of instruments he's got
on there, an oscillator, a harpsichord...
548
00:31:50,441 --> 00:31:52,109
It's got some crazy stuff on there.
549
00:31:52,209 --> 00:31:57,648
Well, I remember...
I combined an organ with the guitar.
550
00:31:57,748 --> 00:32:01,152
And phew! What a sound,
It really worked great.
551
00:32:01,252 --> 00:32:05,556
We got them so that they were
absolutely enhancing each other.
552
00:32:05,656 --> 00:32:08,993
It was like a miracle,
a miraculous process.
553
00:32:09,093 --> 00:32:11,695
(♪ THE BEACH BOYS:
"Here Today")
554
00:32:19,270 --> 00:32:22,306
♪ Keep in mind love is here... ♪
555
00:32:23,207 --> 00:32:25,810
Because of the work they'd done,
556
00:32:25,910 --> 00:32:30,214
it didn't seem too much of a stretch
for us to get further out than they'd got.
557
00:32:30,314 --> 00:32:32,483
(Audience laughing)
558
00:32:45,996 --> 00:32:49,633
We always loved
the Morton Fraser Harmonica Gang.
559
00:32:49,733 --> 00:32:51,569
When we were kids, it was a TV thing,
560
00:32:51,669 --> 00:32:53,971
a little bloke came on
and they all pushed him out of the way.
561
00:32:54,071 --> 00:32:58,075
But it was those giant big bass...
(Imitates sound)
562
00:32:58,175 --> 00:33:01,545
And John used to play harmonica,
so we always liked that.
563
00:33:01,645 --> 00:33:04,381
But when I heard them
on "Pet Sounds"...
564
00:33:04,482 --> 00:33:07,751
There's a lot of harmonica,
bass harmonica, he uses that...
565
00:33:07,852 --> 00:33:12,356
The instruments he uses and the way
he places them against each other,
566
00:33:12,456 --> 00:33:15,359
it's very cleverly done,
it's a really clever album.
567
00:33:15,459 --> 00:33:20,898
So we were inspired by it
and nicked a few ideas.
568
00:33:20,998 --> 00:33:23,601
(♪ THE BEATLES:
"Being For The Benefit Of Mr Kite!")
569
00:33:25,202 --> 00:33:27,304
♪ The celebrated Mr K.
570
00:33:27,404 --> 00:33:30,508
♪ Performs his feat on Saturday
at Bishopsgate... ♪
571
00:33:30,608 --> 00:33:35,312
I remember we walked into
an antique shop in Sevenoaks in Kent,
572
00:33:35,412 --> 00:33:38,282
and we were looking
at what they had there,
573
00:33:38,382 --> 00:33:40,651
and John pulled out this thing
that he found,
574
00:33:40,751 --> 00:33:43,320
which said, "The Benefit of Mr Kite".
575
00:33:43,420 --> 00:33:46,590
And it was virtually
all the lyrics to that song.
576
00:33:46,690 --> 00:33:47,892
(George Martin) When I saw it,
577
00:33:47,992 --> 00:33:51,095
it was hanging up in the hall
in his house in Surrey,
578
00:33:51,195 --> 00:33:53,764
and it had everything
that the song has on it.
579
00:33:53,864 --> 00:33:57,101
It had the Henderson Twins
and Pablo Fanque's Fair,
580
00:33:57,201 --> 00:33:59,169
all those words were written
on the poster.
581
00:34:00,037 --> 00:34:05,576
And it obviously inspired him to write
a song about a fairground or a circus.
582
00:34:05,676 --> 00:34:07,778
That's how you do it.
583
00:34:07,878 --> 00:34:10,581
You get ideas,
you hear people say stuff, or...
584
00:34:10,681 --> 00:34:14,785
you hear a phrase that sounds good
and you write it down or remember it.
585
00:34:14,885 --> 00:34:18,622
So I think he was just advanced
for those days
586
00:34:18,722 --> 00:34:23,160
in his awareness of putting...
everything could be put into a song.
587
00:34:23,260 --> 00:34:26,564
(George Martin)
He wanted to create a sound picture
588
00:34:26,664 --> 00:34:28,566
of what the song was all about.
589
00:34:29,099 --> 00:34:32,536
And he actually said to me,
"I want to smell the sawdust."
590
00:34:32,636 --> 00:34:34,972
But to get the smell of the sawdust,
591
00:34:35,072 --> 00:34:38,475
we, John and I,
both sat on different organs,
592
00:34:38,576 --> 00:34:42,146
Wurlitzers and Lowreys
and Hammonds,
593
00:34:42,246 --> 00:34:46,250
and with double-speed techniques
created a kind of whirly atmosphere.
594
00:34:46,350 --> 00:34:50,654
And the backing... I had visions
of Snow White and the Seven Dwarfs
595
00:34:50,754 --> 00:34:53,023
who had a little pipey organ in their hut.
596
00:34:53,123 --> 00:34:55,726
John thought slightly differently.
He thought of "Magic Roundabout".
597
00:34:55,826 --> 00:34:59,263
But it was a tooty kind of sound
that we were able to create,
598
00:34:59,363 --> 00:35:03,233
and together with that, we had
this weird and wonderful tape
599
00:35:03,334 --> 00:35:06,870
consisting of all little sections
of real steam organs,
600
00:35:06,971 --> 00:35:11,342
cut up, joined together in a very
haphazard manner, some back to front.
601
00:35:11,442 --> 00:35:13,477
To give us no tune at all,
602
00:35:13,577 --> 00:35:16,947
but just a noise that would convey
what we wanted.
603
00:35:17,047 --> 00:35:18,449
And this is what it is.
604
00:35:18,549 --> 00:35:20,384
(♪ Piano strikes up)
605
00:35:20,484 --> 00:35:22,553
♪ The band begins at ten to six
606
00:35:22,653 --> 00:35:25,322
♪ When Mr K. performs his tricks
without a sound... ♪
607
00:35:25,422 --> 00:35:27,591
Double-tracked vocal form John.
608
00:35:29,093 --> 00:35:31,095
♪ And Mr H. will demonstrate
609
00:35:31,195 --> 00:35:32,763
♪ Ten summersets he'll undertake
610
00:35:32,863 --> 00:35:34,598
- Ringo on his cymbals.
- ♪ On Solid ground
611
00:35:36,200 --> 00:35:40,571
♪ ...days in preparation,
a splendid time is guaranteed for all
612
00:35:41,372 --> 00:35:45,109
- And now, here, in come the whirly bits.
- ♪ And tonight Mr Kite is topping the bill J
613
00:35:45,209 --> 00:35:47,311
(♪ Fairground music)
614
00:35:49,246 --> 00:35:51,715
This is the track
with all the little sounds on it,
615
00:35:51,815 --> 00:35:54,218
the melange of tapes.
616
00:35:59,523 --> 00:36:03,260
And along with that is the little
tooty backing on this track, track four.
617
00:36:03,360 --> 00:36:05,429
(♪ Flute solo)
618
00:36:12,036 --> 00:36:15,572
And that's it. A splendid time
IS guaranteed for all.
619
00:36:16,674 --> 00:36:20,277
I mean, when I first met them,
they really couldn't write a decent song.
620
00:36:20,377 --> 00:36:22,546
"Love Me Do" was the best
they could give me.
621
00:36:22,646 --> 00:36:27,751
Yet they blossomed as songwriters
in a way that is breath-taking.
622
00:36:28,919 --> 00:36:32,356
It had an amazing effect
on the way people saw records.
623
00:36:32,456 --> 00:36:35,526
I mean, people suddenly thought,
"Oh, you can do that?"
624
00:36:35,626 --> 00:36:37,327
Well, they've done it,
so of course you can do it.
625
00:36:37,428 --> 00:36:39,697
So I suppose it made...
626
00:36:40,698 --> 00:36:44,101
it opened a door and showed everybody
that there was another room
627
00:36:44,201 --> 00:36:46,870
and that you could play around
in that other room,
628
00:36:46,970 --> 00:36:50,374
and actually it could still be called
a commercial record.
629
00:36:50,474 --> 00:36:52,509
♪ Good morning, good morning
630
00:36:52,609 --> 00:36:54,545
♪ The best to you each morning
631
00:36:55,012 --> 00:36:58,248
♪ Sunshine, breakfast, Kellogg's
Cornflakes, crisp and full of sun... ♪
632
00:36:58,348 --> 00:36:59,450
Ah, "Good Morning".
633
00:37:00,017 --> 00:37:04,154
"Good Morning" of course
was inspired by a commercial.
634
00:37:04,254 --> 00:37:05,923
You know, a breakfast commercial.
635
00:37:06,023 --> 00:37:10,060
And I suppose that triggered something
in John that made him write the song,
636
00:37:10,160 --> 00:37:12,463
and again he drew his inspiration
637
00:37:12,563 --> 00:37:16,333
from very mundane, ordinary things
like "Time for tea and 'Meet The Wife".
638
00:37:16,433 --> 00:37:18,302
"Meet The Wife"
was a television serial.
639
00:37:18,402 --> 00:37:23,140
It kind of indicates
the suburbanality of his songs
640
00:37:23,240 --> 00:37:25,275
and the very Englishness
of the whole thing.
641
00:37:25,743 --> 00:37:27,945
"Good Morning" was typical of him
642
00:37:28,045 --> 00:37:32,549
that it was of odd meters,
but sounded perfectly natural.
643
00:37:32,649 --> 00:37:35,052
I mean, he would have
a 3/4 bar, 4/4 bar,
644
00:37:35,152 --> 00:37:36,987
5/4 bar even, without knowing it.
645
00:37:37,654 --> 00:37:40,057
One-two-three, one-two,
646
00:37:40,157 --> 00:37:44,728
one-two-three-four, one-two,
one-two-three-four.
647
00:37:44,828 --> 00:37:47,431
It was to be a very hard-driving,
punchy thing.
648
00:37:47,531 --> 00:37:50,000
The tune itself is quite simple.
649
00:37:53,170 --> 00:37:55,906
But it was full of accents
all over the place.
650
00:37:56,006 --> 00:37:57,674
♪ Go to a show you hope she goes... ♪
651
00:37:57,775 --> 00:38:02,312
John wanted to finish this song
with a collection of animal noises,
652
00:38:02,412 --> 00:38:05,516
starting off with a cock,
identifying with a Kellogg's commercial...
653
00:38:05,616 --> 00:38:09,153
- (Cockerel crows)
- ...and then each animal was capable
654
00:38:09,253 --> 00:38:12,389
of either devouring
or frightening the one before it.
655
00:38:12,923 --> 00:38:14,625
And we had a whole string of them here.
656
00:38:14,725 --> 00:38:16,660
(Cat miaows)
657
00:38:16,760 --> 00:38:18,162
(Dog barks)
658
00:38:18,262 --> 00:38:20,230
(Barking)
659
00:38:21,732 --> 00:38:23,267
(Horse neighs)
660
00:38:23,367 --> 00:38:25,135
(Sheep bleats)
661
00:38:26,236 --> 00:38:28,572
(Elephant trumpets)
662
00:38:28,672 --> 00:38:30,574
It took a long time,
663
00:38:30,674 --> 00:38:34,711
and it took longer for me,
because I would do the basic track.
664
00:38:34,812 --> 00:38:39,616
We would do the basic backing track.
We'd do the drums.
665
00:38:39,716 --> 00:38:43,320
And then it would be days or weeks,
666
00:38:43,420 --> 00:38:47,090
even months sometimes,
to come back to the track
667
00:38:47,191 --> 00:38:51,094
and put on overdubs like the hi-hat
668
00:38:51,195 --> 00:38:57,000
or, listening again,
there's lots of conga drums.
669
00:38:57,434 --> 00:38:59,436
I'm not a percussionist.
670
00:38:59,536 --> 00:39:01,738
That's another field of drums.
671
00:39:02,206 --> 00:39:05,709
I'm on playing the congas,
and there's lots of maracas,
672
00:39:05,809 --> 00:39:08,512
and all that stuff
sort of came on at the end.
673
00:39:08,612 --> 00:39:11,615
So there was lots of huge gaps.
674
00:39:11,715 --> 00:39:15,586
The biggest memory I have of "Sgt.
Pepper" is, I learned to play chess on it.
675
00:39:16,820 --> 00:39:19,957
We were changing our method
of working at that time,
676
00:39:20,057 --> 00:39:24,494
and instead of now looking for catchy
singles, catchy singles, catchy singles,
677
00:39:24,595 --> 00:39:31,068
it was more like writing a novel,
"Sgt. Pepper", I think for me, definitely.
678
00:39:31,168 --> 00:39:34,571
It was much more a kind
of an overall concept, "Wow...I"
679
00:39:34,671 --> 00:39:36,406
And you can see that in the packaging.
680
00:39:36,506 --> 00:39:40,878
♪ And it really doesn't matter
if I'm wrong I'm right
681
00:39:40,978 --> 00:39:42,946
♪ Where I belong I'm right
682
00:39:43,046 --> 00:39:45,215
♪ Where I belong
683
00:39:45,682 --> 00:39:48,652
♪ Silly people run around,
they worry me
684
00:39:48,752 --> 00:39:53,090
♪ And never ask me
why they don't get past my door... ♪
685
00:39:53,190 --> 00:39:55,459
(George Martin)
Cover art in the mid-Sixties
686
00:39:55,559 --> 00:39:58,228
hadn't really been exploited
up to "Pepper”,
687
00:39:58,662 --> 00:40:01,965
and when the boys decided
what they wanted,
688
00:40:02,065 --> 00:40:05,369
they wanted really to put
all of their heroes on the album
689
00:40:05,469 --> 00:40:07,271
in some form or another.
690
00:40:07,371 --> 00:40:13,477
And by recruiting Peter Blake,
who was an avant-garde artist again,
691
00:40:13,577 --> 00:40:16,680
to assemble their ideas
and realise them,
692
00:40:16,780 --> 00:40:18,916
in the same way
I was realising the music,
693
00:40:19,016 --> 00:40:22,019
they did, I think, a pretty smart thing.
694
00:40:22,119 --> 00:40:27,157
I think what happened straightaway
was that it was very mysterious.
695
00:40:27,257 --> 00:40:28,725
It was like a game.
696
00:40:28,825 --> 00:40:32,162
There were quizzes to see
if you could spot who everyone was,
697
00:40:32,262 --> 00:40:34,765
and of course nobody could.
698
00:40:34,865 --> 00:40:37,768
And I think a kind of cult
built up around it,
699
00:40:37,868 --> 00:40:42,906
and then the myths and stories
that built up around it,
700
00:40:43,006 --> 00:40:47,110
it became an interesting talking point,
I think.
701
00:40:47,611 --> 00:40:50,547
I think we just thought
we'll do the best we can
702
00:40:50,647 --> 00:40:54,151
in this very far-out new way
that we had of thinking.
703
00:40:54,251 --> 00:40:55,552
Get it to be something...
704
00:40:55,652 --> 00:40:59,589
I still think that is the best philosophy,
to really try and please yourself.
705
00:41:00,190 --> 00:41:03,093
Probably the most momentous song
on the album, "A Day In The Life",
706
00:41:03,193 --> 00:41:05,329
began in a very simple way.
707
00:41:05,429 --> 00:41:08,398
And we've got the rehearsal take,
take one,
708
00:41:08,498 --> 00:41:10,467
the very first time we heard it,
709
00:41:11,501 --> 00:41:14,771
with John giving a few instructions
to people, as usual,
710
00:41:14,871 --> 00:41:16,707
just before he starts it.
711
00:41:17,674 --> 00:41:20,477
(John) 'Have the mike on the piano
quite low.
712
00:41:20,577 --> 00:41:22,312
'Keep it like maracas, you know.'
713
00:41:22,412 --> 00:41:25,615
John was singing while he was playing
his acoustic guitar.
714
00:41:25,716 --> 00:41:29,353
Paul was on piano.
George was playing maracas, I think.
715
00:41:29,453 --> 00:41:31,888
And certainly Ringo was on bongos.
716
00:41:31,989 --> 00:41:35,225
John counts in by saying,
"Sugar plum fairy, sugar plum fairy."
717
00:41:39,563 --> 00:41:42,566
(John) 'Sugar plum fairy,
sugar plum fairy.'
718
00:41:42,666 --> 00:41:45,569
(♪ THE BEATLES:
"A Day In The Life")
719
00:41:55,545 --> 00:41:59,683
♪ I read the news today, oh boy
720
00:42:01,585 --> 00:42:04,121
♪ About a lucky man
who made the grade... ♪
721
00:42:04,221 --> 00:42:07,524
Even in this early take,
he has a voice...
722
00:42:07,624 --> 00:42:12,095
- ♪ And though the news was rather sad
- ...which sends shivers down the spine.
723
00:42:13,630 --> 00:42:16,867
♪ Well, I just had to laugh
724
00:42:19,603 --> 00:42:22,606
♪ I saw the photograph
725
00:42:25,809 --> 00:42:29,079
♪ He blew his mind out in a car
726
00:42:31,882 --> 00:42:36,353
♪ He didn't notice
that the lights had changed... ♪
727
00:42:38,789 --> 00:42:41,625
(Phil Collins) Well, I think
he's vastly underrated, Ringo.
728
00:42:44,227 --> 00:42:48,465
The drum fills on "A Day In The Life"
are in fact very, very complex things.
729
00:42:48,965 --> 00:42:52,402
You could take a great drummer
from today
730
00:42:52,502 --> 00:42:55,739
and say, "I want it like that,"
and they really wouldn't know what to do.
731
00:42:57,641 --> 00:43:00,110
♪ They'd seen his face before
732
00:43:00,210 --> 00:43:04,014
♪ Nobody was really sure
if he was from the House of Lords... ♪
733
00:43:06,783 --> 00:43:10,487
I could only play the drums
the best I could, you know?
734
00:43:10,587 --> 00:43:13,156
You know, I've said it before
that I was very lucky
735
00:43:13,256 --> 00:43:17,327
that I was surrounded
by three frustrated drummers.
736
00:43:17,427 --> 00:43:24,267
All three of them can play drums,
but only one sort of style.
737
00:43:24,367 --> 00:43:27,337
There was one great moment
with John who played a record to me
738
00:43:27,437 --> 00:43:29,773
and wanted me to...
"Well, play it like that, Ringo."
739
00:43:29,873 --> 00:43:34,010
I said, "But, John, there's two guys."
He says, "Don't let that bother you."
740
00:43:34,111 --> 00:43:36,947
(George Martin) The first part of the song
"A Day In The Life" was John's,
741
00:43:37,047 --> 00:43:38,415
but it was incomplete.
742
00:43:38,515 --> 00:43:41,651
He went to Paul and said, "Have you got
anything to pad it out in the middle?"
743
00:43:41,751 --> 00:43:43,887
Paul had another song
which he was working on,
744
00:43:43,987 --> 00:43:47,691
which really had no connection with
"A Day In The Life", but it was good.
745
00:43:47,791 --> 00:43:50,627
♪ Woke up, fell out of bed
746
00:43:50,727 --> 00:43:53,130
♪ Dragged a comb across my head
747
00:43:55,065 --> 00:43:58,101
♪ Found my way downstairs
and drank a cup
748
00:43:58,201 --> 00:44:01,037
♪ And looking up, I noticed I was late... ♪
749
00:44:01,972 --> 00:44:03,907
So John said,
"Well, let's shove it in the middle
750
00:44:04,007 --> 00:44:06,042
"and see if we can't connect them up
in some way."
751
00:44:06,676 --> 00:44:10,747
We connected them
with a series of empty bars
752
00:44:10,847 --> 00:44:16,052
on either side of Paul's section
before we came back into John's reprise,
753
00:44:16,153 --> 00:44:20,490
and we knew we had to fill those bars
with something sensational.
754
00:44:20,590 --> 00:44:22,259
And we didn't know
what it was going to be yet.
755
00:44:22,792 --> 00:44:24,561
In order to keep the 24 bars
756
00:44:24,661 --> 00:44:27,063
so that everybody knew
when to come back in again,
757
00:44:27,164 --> 00:44:30,600
dear old Mal Evans stood
by the piano counting the bars.
758
00:44:30,700 --> 00:44:35,472
(Mal) 'Seven, eight, nine, ten...'
759
00:44:35,572 --> 00:44:37,407
And just to add further weight to it,
760
00:44:37,507 --> 00:44:41,111
he set off an alarm clock at the end of it
to trigger everybody back into it.
761
00:44:42,045 --> 00:44:44,748
'Seventeen, eighteen,
762
00:44:44,848 --> 00:44:48,952
- 'nineteen, twenty!'
- (Alarm clock rings)
763
00:44:49,319 --> 00:44:53,156
They told me they wanted an orchestral
climax to fill these empty bars,
764
00:44:53,256 --> 00:44:55,258
a giant orgasm of sound
765
00:44:55,358 --> 00:44:59,262
rising from nothing at all
to the most incredible noise.
766
00:44:59,362 --> 00:45:00,764
And this is what we came up with.
767
00:45:02,432 --> 00:45:05,368
(♪ Orchestral crescendo)
768
00:45:24,087 --> 00:45:25,522
(♪ Crescendo stops, piano plays)
769
00:45:25,622 --> 00:45:28,925
And with that, we joined up
the two parts of the song.
770
00:45:29,025 --> 00:45:31,895
♪ Woke up, fell out of bed
771
00:45:31,995 --> 00:45:34,564
♪ Dragged a comb across my head... ♪
772
00:45:36,199 --> 00:45:40,437
I think there's lots of better songs
out on different records.
773
00:45:40,537 --> 00:45:43,940
It's just...
it was the time, the attitude,
774
00:45:44,040 --> 00:45:46,810
it was the concept,
the world was trying to change.
775
00:45:46,910 --> 00:45:49,412
It didn't quite make it,
but it made a small move.
776
00:45:50,113 --> 00:45:52,515
It was in the air...
777
00:45:52,616 --> 00:45:55,852
For me, the psychedelic years
were the most exciting.
778
00:45:55,952 --> 00:45:59,055
It's like a period. If you listen to music
from the '20 or the '30s,
779
00:45:59,155 --> 00:46:03,126
it has a sort of sound to it,
and I think that's important.
780
00:46:03,226 --> 00:46:09,332
If you want to listen to something like
a Hoagy Carmichael tune,
781
00:46:09,432 --> 00:46:13,103
well, it's partly the song that you like,
and it's partly the way he did it,
782
00:46:13,203 --> 00:46:15,772
and it's also partly the way
it was recorded,
783
00:46:15,872 --> 00:46:17,974
how the microphones
sounded in those days,
784
00:46:18,074 --> 00:46:20,644
how the tube amplifiers
in the boards...
785
00:46:20,744 --> 00:46:23,713
You know,
it's all that kind of atmosphere,
786
00:46:23,813 --> 00:46:25,949
and it becomes a little period piece.
787
00:46:26,616 --> 00:46:28,285
(Phil Collins)
The concept of the thing,
788
00:46:28,385 --> 00:46:30,754
I mean, before concept albums
became a dirty word,
789
00:46:30,854 --> 00:46:32,922
you'd put it on and sit down and say,
790
00:46:33,023 --> 00:46:36,526
"For the next 50 minutes,
I'm gonna be going there."
791
00:46:36,626 --> 00:46:38,695
So, it was very new
from that point of view.
792
00:46:40,330 --> 00:46:43,700
♪ And though the holes
were rather small... ♪
793
00:46:46,202 --> 00:46:50,707
(Ringo) Well, you know, the whole
flower power thing fell apart in the end.
794
00:46:50,807 --> 00:46:54,277
I mean, there's still some
great, old hippies out there,
795
00:46:54,377 --> 00:46:56,546
travelling in their vans, but...
796
00:46:56,646 --> 00:47:00,617
It wasn't the movement
that I felt it could have been.
797
00:47:00,984 --> 00:47:03,553
I must confess that when we were
going through "Pepper",
798
00:47:03,653 --> 00:47:06,323
people were saying, "How's it
coming along?" I'd say "Fine."
799
00:47:06,423 --> 00:47:10,060
And I must confess, as we were getting
longer and longer into the album
800
00:47:10,160 --> 00:47:12,962
and more and more avant-garde,
801
00:47:13,063 --> 00:47:16,099
I was wondering whether we were
being a little bit over the top
802
00:47:16,199 --> 00:47:18,568
and a little bit... maybe pretentious.
803
00:47:18,668 --> 00:47:22,806
Just a slight niggle of worry. I thought,
"Is the public ready for this yet?"
804
00:47:22,906 --> 00:47:25,742
The musical papers
which I used to read
805
00:47:25,842 --> 00:47:28,678
were starting to slag us off,
because we hadn't done anything,
806
00:47:28,778 --> 00:47:31,081
because it took five months to record.
807
00:47:31,181 --> 00:47:34,184
And I remember with great glee
seeing in one of the papers,
808
00:47:34,284 --> 00:47:37,420
"Oh, the Beatles have dried up.
There's nothing coming from them.
809
00:47:37,520 --> 00:47:39,823
"They've been in the studio.
They can't think what they're doing."
810
00:47:39,923 --> 00:47:43,426
And I was sitting rubbing my hands,
saying, "You just wait."
811
00:47:43,526 --> 00:47:45,995
(♪ Reverberating chord)
812
00:47:49,432 --> 00:47:54,137
♪ Friday morning,
at nine o'clock
813
00:47:54,237 --> 00:47:57,540
♪ She is far away
814
00:48:00,944 --> 00:48:06,483
♪ Waiting to keep
the appointment she made
815
00:48:06,583 --> 00:48:11,354
♪ Meeting a man from the Motortrade
816
00:48:12,389 --> 00:48:13,757
♪ She...
817
00:48:13,857 --> 00:48:17,360
♪ What did we do that was wrong
818
00:48:17,460 --> 00:48:19,162
♪ ...is having
819
00:48:19,262 --> 00:48:23,299
♪ We didn't know it was wrong
820
00:48:23,400 --> 00:48:24,734
♪ ...fun
821
00:48:24,834 --> 00:48:28,972
♪ Fun is the one thing
that money can't buy
822
00:48:29,072 --> 00:48:33,643
♪ Something inside
that was always denied
823
00:48:33,743 --> 00:48:37,614
♪ For so many years
824
00:48:40,250 --> 00:48:44,654
♪ She's leaving home
825
00:48:44,754 --> 00:48:49,325
♪ Bye, bye... ♪
67649
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