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[indiscernible singing]
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♪
3
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MAN: Well, I've been wonderful
on the last two takes.
4
00:00:12,137 --> 00:00:15,807
♪
5
00:00:15,807 --> 00:00:19,307
♪ Back in the U. S. S. R playing ♪
6
00:00:19,311 --> 00:00:22,441
♪
7
00:00:22,439 --> 00:00:25,399
PAUL MCCARTNEY:
♪ Flew in from Miami Beach BOAC ♪
8
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♪ Didn't get to bed last night ♪
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♪ On the way the paper bag
was on my knee ♪
10
00:00:32,574 --> 00:00:34,584
♪ Man, I had a dreadful flight ♪
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00:00:34,576 --> 00:00:36,826
♪ I'm back in the USSR ♪
12
00:00:37,913 --> 00:00:40,963
♪ You don't know
how lucky you are, boy ♪
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00:00:41,333 --> 00:00:43,843
♪ Back in the US,
back in the US ♪
14
00:00:43,836 --> 00:00:46,126
♪ Back in the USSR ♪
15
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Oh, come on!
16
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♪
17
00:01:10,529 --> 00:01:12,159
♪ Oh ♪
18
00:01:12,155 --> 00:01:14,235
♪ Show me round
your snowpeaked mountains ♪
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♪ Way down south ♪
20
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[volume dropping in and out]
♪ Take me to your Daddy's farm ♪
21
00:01:19,204 --> 00:01:20,214
♪ Let me hear♪
22
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♪ Bala♪
23
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♪ Ringing out ♪
24
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♪ Come and keep
your comrade warm ♪
25
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♪ I'm back in the USSR ♪
Whoo!
26
00:01:26,670 --> 00:01:27,550
Hey!
27
00:01:27,963 --> 00:01:31,053
♪ You don't know
how lucky you are, boy ♪
28
00:01:31,300 --> 00:01:32,380
♪ Back ♪
29
00:01:32,384 --> 00:01:34,764
Back. And we're back.
30
00:01:34,761 --> 00:01:36,641
What do you remember about this?
Whoo!
31
00:01:36,638 --> 00:01:38,928
Whawhat do you remember
about that, that moment?
32
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Writing the song...
Yeah.
33
00:01:41,977 --> 00:01:43,477
You know,
as a kind of spinoff,
34
00:01:43,478 --> 00:01:46,518
like a joke on the Chuck Berry
Back in the USA.
35
00:01:46,523 --> 00:01:47,523
Mmhmm.
36
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For some reason, I mean,
maybe I was showing Ringo
37
00:01:51,028 --> 00:01:52,948
what I thought
the drumming should be.
38
00:01:53,280 --> 00:01:55,120
I think, and he might've said,
"Well, you do it."
39
00:01:56,241 --> 00:01:58,701
He might've also said,
"Well, you do it."
40
00:01:59,077 --> 00:02:00,827
So you played drums on this.
IYeah.
41
00:02:00,829 --> 00:02:01,709
I didn't know that.
Yeah, yeah.
42
00:02:02,289 --> 00:02:04,039
How long did you write the song
43
00:02:04,041 --> 00:02:05,791
before this was recorded,
would you say?
44
00:02:05,792 --> 00:02:07,422
It wouldn't have been that long
45
00:02:07,419 --> 00:02:12,089
'cause you pretty much wrote
the thing and got in the studio.
46
00:02:12,508 --> 00:02:13,088
Um
47
00:02:13,091 --> 00:02:16,141
In the old days, when you
were doing cover songs...
Mmm.
48
00:02:16,136 --> 00:02:17,886
...you would all learn
the cover songs together,
49
00:02:17,888 --> 00:02:20,268
so you were in the habit
of learning a song quickly.
50
00:02:20,265 --> 00:02:21,095
Yeah.
51
00:02:21,099 --> 00:02:22,099
Anyway.
That's true.
52
00:02:22,100 --> 00:02:24,520
Yeah. And we, we never rehearsed.
Yeah.
53
00:02:24,520 --> 00:02:26,610
I mean, now I rehearse
quite a bit,
54
00:02:26,605 --> 00:02:28,685
'cause you've got
a big production as well.
55
00:02:28,690 --> 00:02:30,860
But then, I remember us
sort of saying,
56
00:02:31,610 --> 00:02:33,320
you know,
we had a day's rehearsal
57
00:02:33,320 --> 00:02:35,530
and we were going
to do the next day.
58
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Everyone was like,
"That's enough."
59
00:02:37,741 --> 00:02:38,741
You know?
60
00:02:38,742 --> 00:02:40,742
"We've done one day,
what more do you want?"
61
00:02:41,328 --> 00:02:43,158
Before the first record, though...
Yeah.
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...how many hours
did you play together?
Yeah.
63
00:02:45,374 --> 00:02:46,294
Yeah, yeah.
64
00:02:46,291 --> 00:02:47,791
Yeah, exactly.
Yeah.
65
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At least 10,000.
66
00:02:49,545 --> 00:02:50,915
Yeah.
According to the man.
67
00:02:52,381 --> 00:02:53,921
When was the point
where it's like,
68
00:02:53,924 --> 00:02:57,144
this is different than everyone else,
in terms of popularity?
69
00:02:57,469 --> 00:03:01,429
Okay. So we'd played in Hamburg,
then we played in England,
70
00:03:01,431 --> 00:03:02,981
and we got more
and more popular,
71
00:03:02,975 --> 00:03:04,515
and I always say,
it's a good thing.
72
00:03:04,518 --> 00:03:07,978
Because, you know, a lot of kids
on these TV talent shows
73
00:03:07,980 --> 00:03:09,860
are propelled into stardom,
74
00:03:09,857 --> 00:03:12,147
and they don't know
how to deal with it.
Yeah.
75
00:03:12,150 --> 00:03:16,320
But we had this staircase
so that we would play ballrooms,
76
00:03:16,321 --> 00:03:19,121
then we played theaters,
then we'd do a bit of television,
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00:03:19,116 --> 00:03:21,906
then we'd do a radio series,
we'd do this and this and this.
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So we were getting famous,
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and then we'd had
numberone records,
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so I think that's when
we first started to think,
81
00:03:29,334 --> 00:03:31,804
"We're famous.
We're number one in the land."
82
00:03:31,795 --> 00:03:33,875
Hm.
But my thing was America.
83
00:03:33,881 --> 00:03:34,801
Hm.
84
00:03:34,798 --> 00:03:39,888
No British acts had gone
to America and been successful.
85
00:03:40,220 --> 00:03:41,310
They'd all come back.
86
00:03:41,680 --> 00:03:45,350
So I remember taking
Brian Epstein aside,
87
00:03:45,350 --> 00:03:46,890
saying "Brian," I said,
88
00:03:46,894 --> 00:03:48,814
"We can't go to America
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00:03:48,812 --> 00:03:51,442
"until we've got
a numberone record there.
90
00:03:51,440 --> 00:03:53,400
We've got to wait."
Hm.
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00:03:53,400 --> 00:03:54,570
And we did.
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00:03:54,943 --> 00:03:56,533
We waited and waited.
93
00:03:56,528 --> 00:04:00,118
And it didn't happen
until I Want to Hold Your Hand.
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00:04:00,115 --> 00:04:01,865
♪ Oh, yeah, I ♪
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00:04:02,242 --> 00:04:03,832
♪ I'll tell you something ♪
96
00:04:04,786 --> 00:04:07,246
♪ I think you'll understand ♪
97
00:04:07,706 --> 00:04:11,036
♪ When I'll say that something ♪
98
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♪ I wanna hold your hand ♪
99
00:04:15,589 --> 00:04:16,669
♪ I wanna hold your hand ♪
100
00:04:16,673 --> 00:04:20,223
We were playing in Paris,
when a telegram,
101
00:04:20,219 --> 00:04:23,099
the old fashioned email,
came through.
102
00:04:23,847 --> 00:04:25,387
"Congratulations, boys.
103
00:04:25,849 --> 00:04:29,649
I Want to Hold Your Hand,
number one in the USA."
104
00:04:29,645 --> 00:04:31,685
Wow.
Aah!
105
00:04:31,688 --> 00:04:33,608
And that was a party night.
106
00:04:33,607 --> 00:04:37,527
♪ I wanna hold your hand ♪
[audience screaming]
107
00:04:37,528 --> 00:04:41,238
♪ I wanna hold your hand ♪
108
00:04:41,240 --> 00:04:44,870
♪ I wanna
hold your hand ♪
109
00:04:44,868 --> 00:04:49,328
♪ I wanna hold your hand ♪
110
00:04:49,331 --> 00:04:52,081
You think it was because
you loved American music so much,
111
00:04:52,084 --> 00:04:53,504
or whis that why
Yeah!
112
00:04:53,502 --> 00:04:56,212
Yeah, that's what it was. Yeah.
We loved American music.
113
00:04:56,463 --> 00:05:00,473
It was the blues tradition,
the rock and roll tradition,
114
00:05:00,467 --> 00:05:02,047
Elvis.
Yeah.
115
00:05:02,052 --> 00:05:04,142
Everything we listened to
was American.
116
00:05:04,137 --> 00:05:06,427
Little Richard at the piano,
banging away.
117
00:05:07,099 --> 00:05:08,479
It blew our minds.
118
00:05:09,226 --> 00:05:11,136
RICK RUBIN: Did you ever get
to meet any of those guys?
119
00:05:11,144 --> 00:05:13,524
Richard. We worked
with Richard in Hamburg.
120
00:05:13,522 --> 00:05:14,612
Really?
Yeah.
121
00:05:14,606 --> 00:05:15,436
What was that like?
122
00:05:16,567 --> 00:05:17,687
Incredible.
RICK: Yeah.
123
00:05:17,693 --> 00:05:19,783
PAUL: You know,
for young kids from Liverpool
124
00:05:20,404 --> 00:05:21,914
to work with someone
like Little Richard.
125
00:05:21,905 --> 00:05:23,815
♪ Good golly, Miss Molly ♪
126
00:05:24,908 --> 00:05:27,998
♪ Sure like to ball, whoo ♪
127
00:05:27,995 --> 00:05:29,825
♪ Good golly, Miss Molly ♪
128
00:05:30,330 --> 00:05:32,750
♪ Sure like to ball ♪
129
00:05:33,584 --> 00:05:35,634
♪ When you're rockin'
and a rollin', yeah ♪
130
00:05:36,128 --> 00:05:38,088
♪ Can't hear your momma call ♪
131
00:05:39,089 --> 00:05:40,259
It was so great.
132
00:05:40,257 --> 00:05:42,627
It was a whole TV hour
on its own.
133
00:05:43,135 --> 00:05:46,345
You know, we'd go into his dressing room
before he went on,
134
00:05:46,847 --> 00:05:48,637
and just to hear his stories.
135
00:05:48,640 --> 00:05:50,640
See, you don't have to be
the top of the bill
136
00:05:50,642 --> 00:05:51,892
to climb the hill.
137
00:05:53,020 --> 00:05:56,570
See, this is not, it ain't the size
of the ship that make you seasick,
138
00:05:56,940 --> 00:05:58,780
it's the waves in the ocean.
139
00:05:59,276 --> 00:06:01,236
It ain't the man
that run the fastest,
140
00:06:01,236 --> 00:06:03,356
but the man that endure
to the end.
141
00:06:04,198 --> 00:06:07,488
So I know that if water fall
on rock long enough,
142
00:06:07,492 --> 00:06:08,372
it's to break it.
143
00:06:08,744 --> 00:06:10,624
PAUL: It was, like,
evangelical or something.
144
00:06:10,621 --> 00:06:11,161
RICK: Yeah.
145
00:06:11,163 --> 00:06:12,833
And, well, he'd gone to Australia.
146
00:06:12,831 --> 00:06:16,001
Supposed to have thrown
all his rings into the water
147
00:06:16,001 --> 00:06:19,921
and renounced, you know,
materialism or whatever.
Yes.
148
00:06:19,922 --> 00:06:22,512
So we'd ask him,
"Hey, Richard, is it true
149
00:06:22,508 --> 00:06:24,888
that, you know, you threw
all your rings away and all that?"
150
00:06:25,677 --> 00:06:26,967
And he'd tell us all, he'd say,
151
00:06:26,970 --> 00:06:29,100
[imitating Little Richard]:
"Yes, child, that's true.
152
00:06:29,097 --> 00:06:30,217
I'll tell you."
153
00:06:30,224 --> 00:06:34,524
And he had this beautiful way,
Southern, Southern American way.
154
00:06:35,187 --> 00:06:38,517
[in normal voice]: So yeah, we were
massively excited to come to America
155
00:06:38,941 --> 00:06:43,151
because these are the people
that we loved,
156
00:06:43,862 --> 00:06:45,742
and they were loving us.
Yeah.
157
00:06:45,739 --> 00:06:49,239
This was like, yeah,
we've arrived. We were famous.
158
00:06:49,243 --> 00:06:50,623
Yeah.
[both laugh]
159
00:06:50,619 --> 00:06:52,199
It's a great feeling.
Yeah.
160
00:06:52,496 --> 00:06:53,576
Of being accepted.
161
00:06:53,580 --> 00:06:55,000
Is really
Yeah, exactly.
162
00:06:54,998 --> 00:06:55,788
Because you think about it,
163
00:06:55,791 --> 00:06:58,041
that's sort of what
everyone's trying to do.
164
00:06:58,043 --> 00:06:59,593
There's obviously
the cool guys who went,
165
00:06:59,586 --> 00:07:01,916
"I don't care,"
and that's great.
166
00:07:02,589 --> 00:07:06,839
But, um, most people, I think
most people want to be accepted.
167
00:07:07,344 --> 00:07:09,014
Like, "Great job."
Yeah. He's good.
168
00:07:09,012 --> 00:07:10,102
You go, "Thank you."
169
00:07:10,639 --> 00:07:13,679
♪ Baby's In Black playing ♪
170
00:07:14,142 --> 00:07:17,312
♪ Oh, dear, what can I do? ♪
171
00:07:17,312 --> 00:07:20,072
Two voices the whole time,
harmony the whole time.
172
00:07:20,691 --> 00:07:23,741
♪ Tell me, oh,
what can I do? ♪
173
00:07:24,736 --> 00:07:27,566
♪ She thinks of him ♪
174
00:07:28,115 --> 00:07:30,865
♪ And so she dresses in black ♪
175
00:07:31,493 --> 00:07:34,373
♪ And though he'll never come back ♪
176
00:07:34,371 --> 00:07:36,251
♪ She's dressed in black ♪
177
00:07:37,791 --> 00:07:41,461
You know, we'd started off with songs
which are just for the fans.
178
00:07:41,461 --> 00:07:42,131
Yeah.
179
00:07:42,129 --> 00:07:45,879
From Me To You,
Love Me Do, Please Please Me,
180
00:07:45,883 --> 00:07:47,303
Thank You Girl.
181
00:07:47,301 --> 00:07:50,141
We were writing
to our fan audience.
182
00:07:50,554 --> 00:07:52,934
But then, as things went on,
183
00:07:52,931 --> 00:07:55,681
we started to just write
for ourselves
184
00:07:55,684 --> 00:07:56,984
and figured
185
00:07:56,977 --> 00:08:00,607
that the fans would listen
to our extension
186
00:08:00,981 --> 00:08:02,821
of what we wanted to write.
187
00:08:02,816 --> 00:08:04,686
So we did, and we got
into kind of more
188
00:08:04,693 --> 00:08:06,493
sort of slightly different things.
189
00:08:06,486 --> 00:08:08,406
This being 3/4 time.
190
00:08:08,405 --> 00:08:11,275
[humming]
191
00:08:11,283 --> 00:08:14,833
And we used to want
to do this on stage.
192
00:08:14,828 --> 00:08:17,208
But it wasn't
a big fan favorite.
193
00:08:17,706 --> 00:08:19,746
May be hard to dance to, too,
because of the
194
00:08:19,750 --> 00:08:21,380
It would be hard to dance to.
Because of the groove.
195
00:08:21,960 --> 00:08:23,420
But the harmonies are great.
196
00:08:23,962 --> 00:08:26,092
And the words are really good.
As you say, it's very Everlys.
197
00:08:26,840 --> 00:08:29,300
♪ When I feel blue ♪
198
00:08:29,927 --> 00:08:34,257
♪ In the night
and I need you ♪
199
00:08:34,264 --> 00:08:36,524
RICK: How impactful were
the Everly Brothers on you?
200
00:08:36,517 --> 00:08:37,767
PAUL: Oh, massively.
201
00:08:38,268 --> 00:08:42,188
We always used to say
I was Phil, John was Don.
202
00:08:43,732 --> 00:08:44,652
You listen to Beatles records.
203
00:08:44,650 --> 00:08:46,780
'Cause I always take
the higher harmony than John.
204
00:08:47,569 --> 00:08:49,239
That was us being the Everlys.
205
00:08:50,781 --> 00:08:52,491
♪ Baby's in black ♪
206
00:08:52,491 --> 00:08:54,121
♪ And I'm feeling blue ♪
207
00:08:54,117 --> 00:08:57,827
♪ Tell me, oh, what can I do? ♪
208
00:08:57,829 --> 00:08:59,159
You know, we were
kind of proud of this one.
209
00:08:59,164 --> 00:08:59,754
This is a good one.
210
00:08:59,748 --> 00:09:02,628
We thought we were kind of,
you know, getting really funky folk.
211
00:09:02,626 --> 00:09:05,836
♪ And so she dresses in black ♪
212
00:09:07,005 --> 00:09:10,045
♪ And though he'll never come back ♪
213
00:09:10,050 --> 00:09:11,970
♪ She's dressed in black ♪
214
00:09:12,845 --> 00:09:15,135
Tell me about albums
versus singles,
215
00:09:15,138 --> 00:09:17,598
because in modern time,
216
00:09:17,599 --> 00:09:19,599
when you put out an album,
all your singles are on that album.
217
00:09:19,601 --> 00:09:20,351
Yeah. Yeah.
218
00:09:20,352 --> 00:09:23,192
But were you guys
the first guys to do singles
219
00:09:23,188 --> 00:09:25,108
that were not part of albums?
220
00:09:25,107 --> 00:09:27,727
We had the luxury to do that.
Yeah.
221
00:09:27,734 --> 00:09:28,784
You know,
somebody's coming in,
222
00:09:28,777 --> 00:09:31,027
and they're only going
to ever have one hit.
223
00:09:31,029 --> 00:09:31,819
Yeah.
224
00:09:31,822 --> 00:09:33,372
Then that had better be
on the album.
225
00:09:33,365 --> 00:09:34,865
Yeah, yeah, yeah.
You know.
226
00:09:34,867 --> 00:09:37,367
But we, we were rather confident.
227
00:09:37,661 --> 00:09:39,411
Yeah.
And then the other great thing was,
228
00:09:39,413 --> 00:09:41,673
there used to be an A side
and a B side, as you know.
229
00:09:41,665 --> 00:09:42,205
Yeah.
230
00:09:42,207 --> 00:09:44,787
The B side earns
just as much money as the A side,
231
00:09:46,086 --> 00:09:49,796
so we were trying to write
good A sides, good B sides.
232
00:09:49,798 --> 00:09:50,298
Yeah.
233
00:09:50,716 --> 00:09:52,626
I remember Phil Spector
saying to us,
234
00:09:53,468 --> 00:09:55,508
"You throw away all your songs.
235
00:09:55,512 --> 00:09:57,602
"On a, on a, on a record,
236
00:09:57,598 --> 00:09:59,848
you're putting
two good songs on there."
237
00:09:59,850 --> 00:10:01,640
He said you should put the hit,
238
00:10:02,186 --> 00:10:04,936
and then the other side,
just like take the vocal off,
239
00:10:05,898 --> 00:10:07,688
and call it singalongwith
240
00:10:08,233 --> 00:10:09,193
or something.
And sell it twice.
241
00:10:09,193 --> 00:10:11,363
Sell it twice.
And we said, "No, Phil.
242
00:10:11,361 --> 00:10:13,701
We can't do that."
So, because you know why?
243
00:10:13,697 --> 00:10:15,777
Because we were
recently record buyers.
244
00:10:15,782 --> 00:10:16,532
Yeah.
245
00:10:16,533 --> 00:10:18,833
And we would have felt
so cheated
246
00:10:18,827 --> 00:10:19,997
if we'd have bought that record.
247
00:10:20,579 --> 00:10:22,459
Was it typically
an album a year?
248
00:10:22,456 --> 00:10:24,286
It was typically, it was like
an album a year,
249
00:10:24,291 --> 00:10:25,631
and four singles a year.
250
00:10:26,168 --> 00:10:28,208
An album plus
four additional singles?
251
00:10:28,212 --> 00:10:28,882
Yeah.
252
00:10:28,879 --> 00:10:30,669
The songs were varied
on each album,
253
00:10:30,672 --> 00:10:32,552
and then every album
was varied from the other.
254
00:10:32,549 --> 00:10:33,129
Yeah.
255
00:10:33,133 --> 00:10:34,683
It was like, ah, ah, ah.
256
00:10:34,676 --> 00:10:36,176
And the pace
you were working at
257
00:10:36,178 --> 00:10:36,678
Yeah.
258
00:10:36,678 --> 00:10:38,598
It'd be like, "Go down,
do the solo, then come on."
259
00:10:38,597 --> 00:10:40,017
"Yeah, okay."
260
00:10:40,015 --> 00:10:42,345
Run down...
[humming]
261
00:10:42,351 --> 00:10:43,391
Done, great.
262
00:10:44,019 --> 00:10:45,309
Next.
Yeah. Next.
263
00:10:45,312 --> 00:10:46,862
Yeah, yeah, yeah.
You know.
264
00:10:46,855 --> 00:10:47,805
Amazing.
265
00:10:47,814 --> 00:10:49,864
I remember, with And I Love Her.
Yeah.
266
00:10:49,858 --> 00:10:52,438
I brought it in, and it was just,
I had the chords.
267
00:10:52,778 --> 00:10:54,278
[humming]
268
00:10:54,279 --> 00:10:55,239
And then George Martin said,
269
00:10:55,239 --> 00:10:57,369
"It would be nice
if we could have a little intro."
270
00:10:57,366 --> 00:10:58,026
Mmhmm.
271
00:10:58,033 --> 00:11:00,413
And George Harrison just went
272
00:11:00,410 --> 00:11:01,910
[hums]
273
00:11:01,912 --> 00:11:04,412
♪ And I Love Her playing ♪
274
00:11:04,414 --> 00:11:05,334
Yeah.
275
00:11:05,707 --> 00:11:07,917
♪
276
00:11:07,918 --> 00:11:08,998
RICK: Yeah. Integral.
277
00:11:11,296 --> 00:11:14,676
PAUL [on recording]:
♪ I give her all my love ♪
278
00:11:14,675 --> 00:11:15,835
Now, see and that
279
00:11:15,843 --> 00:11:18,553
♪ That's all I do ♪
280
00:11:18,554 --> 00:11:21,604
You know, I couldn't imagine
this song without that.
281
00:11:21,598 --> 00:11:22,598
Yeah.
Yeah.
282
00:11:23,809 --> 00:11:26,139
♪ You'd love her too ♪
283
00:11:26,144 --> 00:11:27,404
It was good, you know.
284
00:11:27,396 --> 00:11:28,266
Yeah.
285
00:11:28,272 --> 00:11:29,232
[chuckles]
286
00:11:29,606 --> 00:11:32,316
♪
287
00:11:33,443 --> 00:11:34,613
Ooh. Switches.
288
00:11:34,611 --> 00:11:38,911
George, now he does this part,
instead of... [hums]
289
00:11:38,907 --> 00:11:40,117
That was not a preplanned
290
00:11:40,117 --> 00:11:40,827
No.
291
00:11:40,826 --> 00:11:43,286
♪
292
00:11:43,287 --> 00:11:45,407
But he knew the chords,
and that was enough
293
00:11:45,414 --> 00:11:47,714
so he could transpose stuff.
294
00:11:48,125 --> 00:11:50,835
♪
295
00:11:53,589 --> 00:11:57,089
♪ A love like ours ♪
296
00:11:57,593 --> 00:12:00,433
♪ Could never die ♪
297
00:12:01,805 --> 00:12:04,015
♪ As long as I ♪
298
00:12:04,474 --> 00:12:07,354
♪ Have you near me ♪
299
00:12:08,979 --> 00:12:11,899
♪ And I love her ♪
300
00:12:12,566 --> 00:12:13,856
[imitating himself]
♪ Her ♪
301
00:12:16,528 --> 00:12:18,068
Once we'd started to write,
302
00:12:18,363 --> 00:12:20,623
we discovered other people
who were writing.
303
00:12:20,616 --> 00:12:21,446
Hm.
304
00:12:21,450 --> 00:12:22,950
This was like a,
305
00:12:22,951 --> 00:12:26,161
like a sort of disease
that spread, a good disease.
306
00:12:26,163 --> 00:12:26,963
Yeah, everyone could see
307
00:12:26,955 --> 00:12:28,325
Of songwriting,
everyone sort of started
308
00:12:28,332 --> 00:12:29,712
"He's doing it, I'll try it."
309
00:12:29,708 --> 00:12:30,668
Yeah.
310
00:12:30,667 --> 00:12:33,797
At one point
quite early days,
311
00:12:33,795 --> 00:12:36,375
we were supporting
Roy Orbison.
312
00:12:36,381 --> 00:12:36,841
Hm.
313
00:12:36,840 --> 00:12:39,840
I think he'd always written
his stuff,
314
00:12:39,843 --> 00:12:42,553
but a very favorite memory
of mine is,
315
00:12:42,554 --> 00:12:44,814
we were on the tour with Roy,
316
00:12:45,182 --> 00:12:47,772
and we stopped off somewhere
for a cup of tea.
317
00:12:48,268 --> 00:12:49,768
Roy stayed on the bus.
318
00:12:50,270 --> 00:12:53,900
And I remember John and I
coming back on the bus afterwards
319
00:12:53,899 --> 00:12:56,359
and there, sitting at the back
of the bus with his guitar...
320
00:12:56,360 --> 00:12:58,900
♪ Oh, Pretty Woman playing ♪
321
00:12:58,904 --> 00:13:00,454
♪
322
00:13:00,447 --> 00:13:01,737
...is Roy.
323
00:13:01,740 --> 00:13:03,200
He's going...
♪ Pretty woman ♪
324
00:13:03,200 --> 00:13:06,830
♪ Pretty woman
walking down the street ♪
325
00:13:06,828 --> 00:13:10,498
♪ Pretty woman,
the kind I'd like to meet ♪
326
00:13:10,499 --> 00:13:12,209
♪ Pretty woman ♪
327
00:13:12,209 --> 00:13:14,799
And you learned things
from people like that.
328
00:13:14,795 --> 00:13:15,415
RICK: Yeah.
329
00:13:15,420 --> 00:13:17,090
I'd do a little songwriting class,
330
00:13:17,089 --> 00:13:19,089
in my old school
up in Liverpool.
331
00:13:19,091 --> 00:13:22,051
And one of the things
I nearly always point out
332
00:13:22,052 --> 00:13:23,352
to the students
333
00:13:23,345 --> 00:13:26,055
is that it's good
to have an end to a song
334
00:13:26,515 --> 00:13:30,225
because you've got to let
the audience know it's finished.
335
00:13:31,186 --> 00:13:32,646
When we're on tour,
336
00:13:32,646 --> 00:13:35,186
every song
of Roy's got a big end.
337
00:13:35,190 --> 00:13:36,230
♪
338
00:13:36,233 --> 00:13:40,993
♪ It's over ♪
339
00:13:40,988 --> 00:13:43,868
[singsongy]
And always like a great big note.
340
00:13:44,533 --> 00:13:45,873
And he stopped.
Then it's like
341
00:13:45,868 --> 00:13:47,198
[imitating cheering]
342
00:13:47,202 --> 00:13:49,452
There's nowhere else to go.
You've got to clap there.
343
00:13:49,454 --> 00:13:50,374
Yeah.
344
00:13:50,372 --> 00:13:52,292
So I said, well, yeah,
I don't want you to do that.
345
00:13:52,291 --> 00:13:57,051
But think about letting
the audience know you've finished.
346
00:13:57,045 --> 00:14:01,005
So we'd pick up little tricks
like that off, off Roy.
347
00:14:01,675 --> 00:14:03,505
Remember any other moments
where you saw something
348
00:14:03,510 --> 00:14:05,890
and you just, like,
never saw anything like it
349
00:14:05,888 --> 00:14:07,558
or felt anything
like it before?
350
00:14:07,556 --> 00:14:08,386
Kinks.
351
00:14:08,390 --> 00:14:09,560
♪ You Really Got Me playing ♪
352
00:14:09,558 --> 00:14:11,308
I mean, we loved
their first hit.
353
00:14:11,935 --> 00:14:13,975
You Really Got Me, and the guitar riff.
Great riff too.
354
00:14:13,979 --> 00:14:14,939
[imitating guitar riff]
355
00:14:15,647 --> 00:14:18,437
♪ Yeah, you really got me now ♪
356
00:14:18,442 --> 00:14:21,152
♪ You got me
so I can't sleep at night ♪
357
00:14:22,738 --> 00:14:25,528
♪ Yeah, you really got me now ♪
358
00:14:25,532 --> 00:14:26,242
♪ You got me... ♪
359
00:14:26,241 --> 00:14:28,791
PAUL: They supported us.
We were in Brighton.
360
00:14:29,286 --> 00:14:31,536
We were due
to come on second half,
361
00:14:31,538 --> 00:14:33,118
and they did the first half.
362
00:14:33,123 --> 00:14:36,173
We all kind of came out,
sort of hid a bit,
363
00:14:36,168 --> 00:14:37,628
so we could watch them, you know.
364
00:14:38,587 --> 00:14:41,217
♪ Girl, you really got me goin' ♪
365
00:14:41,215 --> 00:14:43,965
♪ You got me... ♪
[humming]
366
00:14:43,967 --> 00:14:44,677
Good little song.
367
00:14:44,676 --> 00:14:45,796
Yeah.
368
00:14:45,802 --> 00:14:49,392
Uh, Seeing Dylan at the Albert Hall
was very special.
369
00:14:49,973 --> 00:14:51,563
Because his first
That was when it was still acoustic
370
00:14:51,558 --> 00:14:53,138
His first half was acoustic,
371
00:14:53,143 --> 00:14:55,563
and then the band came on
for his electric.
372
00:14:56,355 --> 00:14:59,395
♪ Just don't put on any airs ♪
373
00:15:00,025 --> 00:15:04,565
♪ When you're down
on Rue Morgue Avenue ♪
374
00:15:04,571 --> 00:15:06,871
PAUL: All the folkies
kind of booed him.
375
00:15:06,865 --> 00:15:09,405
They thought he's gone over
to the other side.
376
00:15:09,952 --> 00:15:11,832
He's sold out to the enemy,
you know.
377
00:15:12,454 --> 00:15:13,714
But we loved it.
Hm.
378
00:15:13,705 --> 00:15:16,035
Then, you know, we were talking
about Jimi Hendrix.
379
00:15:16,041 --> 00:15:17,751
Yeah. Where did you
see him play?
380
00:15:18,126 --> 00:15:21,206
We used to go to this club
called the Bag O' Nails,
381
00:15:21,713 --> 00:15:24,013
which is where
I would eventually meet Linda.
382
00:15:24,007 --> 00:15:24,757
RICK: Hm.
383
00:15:24,758 --> 00:15:26,258
PAUL: But it was
our regular hangout.
384
00:15:27,177 --> 00:15:30,887
Because we were in groups,
you never got to go to the pub.
385
00:15:31,473 --> 00:15:33,523
When you stopped working,
the pubs are closed,
386
00:15:34,017 --> 00:15:36,977
so you had to get, like, a drink
and maybe something to eat.
387
00:15:36,979 --> 00:15:38,899
And this club,
Bag O' Nails, was that.
388
00:15:38,897 --> 00:15:40,187
So I went down there,
389
00:15:40,524 --> 00:15:43,364
and you would just sit
in an alcove
390
00:15:43,360 --> 00:15:45,030
and you'd mainly listen
to records.
391
00:15:45,028 --> 00:15:47,488
The live bands normally
weren't that good.
392
00:15:47,865 --> 00:15:49,945
Anyway, one night, there was
hardly anyone in the club,
393
00:15:49,950 --> 00:15:52,290
and I'm there late
with a couple of friends.
394
00:15:52,953 --> 00:15:57,293
And you hear, to me,
some sort of exciting sound,
395
00:15:57,791 --> 00:16:00,001
an electric guitar plugging in.
396
00:16:00,544 --> 00:16:01,634
If it's all live
397
00:16:01,628 --> 00:16:02,748
[imitating guitar plugging in]
Yeah.
398
00:16:02,754 --> 00:16:03,924
That'sWhoa!
399
00:16:03,922 --> 00:16:06,512
It's a little bit too loud,
but it's very cool.
400
00:16:06,967 --> 00:16:08,177
He plugged it in.
401
00:16:08,177 --> 00:16:10,217
Oh, that got our attention
and he goes
402
00:16:10,220 --> 00:16:12,010
[imitates guitar riff]
403
00:16:12,014 --> 00:16:13,724
♪ Hey, Joe ♪
404
00:16:15,434 --> 00:16:17,904
♪ Where you going
with that gun in your hand? ♪
405
00:16:18,645 --> 00:16:22,895
♪
406
00:16:22,900 --> 00:16:24,650
PAUL: And that was another kind of,
407
00:16:24,943 --> 00:16:26,153
wow,
408
00:16:26,153 --> 00:16:27,573
electric moment.
409
00:16:27,571 --> 00:16:29,111
And even though there's
hardly anyone in the club,
410
00:16:29,114 --> 00:16:32,284
he played this great set,
teeth and the whole thing.
411
00:16:32,284 --> 00:16:35,794
♪
412
00:16:38,957 --> 00:16:41,337
I think that was like
on a Friday night.
413
00:16:41,335 --> 00:16:43,915
And then he played again,
same club on the Tuesday.
414
00:16:44,296 --> 00:16:45,376
Well, it was packed.
415
00:16:45,839 --> 00:16:47,509
♪ I'm going way down south ♪
416
00:16:49,676 --> 00:16:51,926
♪ Way down Mexico way ♪
417
00:16:52,930 --> 00:16:54,770
Just the word of mouth
from how great Friday
418
00:16:54,765 --> 00:16:58,055
Word around London was
you've got to see this guy.
419
00:16:58,060 --> 00:16:58,890
Wow.
420
00:16:58,894 --> 00:17:02,314
So we all went, uh, I went back
to check him out again.
421
00:17:02,314 --> 00:17:03,234
Great.
422
00:17:03,232 --> 00:17:06,572
And it was Pete Townshend
in the audience, Eric Clapton.
423
00:17:06,985 --> 00:17:08,025
Word had got around.
424
00:17:09,154 --> 00:17:12,164
♪
425
00:17:12,533 --> 00:17:15,543
It was very exciting,
but we're kids, living it.
426
00:17:15,536 --> 00:17:19,706
What's great is, as time goes by,
ththey become legends.
427
00:17:19,706 --> 00:17:20,616
Yeah.
428
00:17:20,624 --> 00:17:22,174
It was a great camaraderie,
you know,
429
00:17:22,167 --> 00:17:24,797
and it was a great generation.
430
00:17:25,295 --> 00:17:25,875
Yeah.
431
00:17:25,879 --> 00:17:28,799
And it wasn't just us,
it was artists as well.
432
00:17:29,341 --> 00:17:32,341
So you'd be hanging with artists
and looking at a lot of art,
433
00:17:33,178 --> 00:17:37,268
and so I had a few friends
who were of that ilk
434
00:17:37,266 --> 00:17:40,136
and would turn me on
to, like, cool books
435
00:17:40,143 --> 00:17:41,143
and cool music.
436
00:17:41,812 --> 00:17:43,732
It wouldn't necessarily find
its way onto a record,
437
00:17:43,730 --> 00:17:45,360
but it influenced
your thinking.
438
00:17:45,357 --> 00:17:48,147
♪ Lucy In The Sky With Diamonds playing ♪
439
00:17:48,151 --> 00:17:52,781
Yeah. This is an instrument
they had lying around EMI,
440
00:17:52,781 --> 00:17:54,451
called a Lowrey organ.
441
00:17:54,449 --> 00:17:55,829
Who played this?
Me.
442
00:17:57,619 --> 00:18:00,159
JOHN LENNON [on recording]:
♪ Picture yourself ♪
443
00:18:00,163 --> 00:18:02,793
♪ In a boat on a river ♪
444
00:18:02,791 --> 00:18:05,791
♪ With tangerine trees ♪
445
00:18:05,794 --> 00:18:09,464
♪ And marmalade skies ♪
446
00:18:10,465 --> 00:18:15,505
♪ Somebody calls you,
you answer quite slowly ♪
447
00:18:16,054 --> 00:18:22,024
♪ A girl with kaleidoscope eyes ♪
448
00:18:24,354 --> 00:18:26,864
♪ Cellophane flowers ♪
449
00:18:26,857 --> 00:18:29,527
♪ Of yellow and green ♪
450
00:18:29,526 --> 00:18:33,736
♪ Towering over your head ♪
451
00:18:33,739 --> 00:18:35,369
This is all on two track.
452
00:18:35,365 --> 00:18:36,405
[chuckles]
453
00:18:36,909 --> 00:18:39,999
It's a lot of information
for two, two tracks, isn't it?
454
00:18:39,995 --> 00:18:43,245
♪
455
00:18:43,248 --> 00:18:44,578
♪ Lucy in the... ♪
456
00:18:44,583 --> 00:18:48,173
♪
457
00:18:48,170 --> 00:18:49,340
♪ Lucy in the sky♪
458
00:18:49,338 --> 00:18:51,378
I think that's me making 'em all...
459
00:18:53,425 --> 00:18:56,845
♪ Lucy in the sky with diamonds ♪
460
00:18:56,845 --> 00:18:58,135
HighThe high harmony.
Yeah.
461
00:18:58,639 --> 00:19:00,099
[strained singing]
462
00:19:00,098 --> 00:19:01,308
[laughs]
463
00:19:01,308 --> 00:19:03,348
JOHN: ♪ Follow her down♪
464
00:19:04,102 --> 00:19:06,562
Rick this is why we don't go
into tapes.
465
00:19:06,563 --> 00:19:07,693
That's beautiful.
466
00:19:07,689 --> 00:19:09,269
It's beautiful.
Aaaah!
467
00:19:10,317 --> 00:19:11,107
Yeah.
468
00:19:11,443 --> 00:19:13,493
You know the story.
Everyone thought it was LSD.
469
00:19:13,487 --> 00:19:14,987
Lucy, Sky, Diamond.
470
00:19:15,322 --> 00:19:18,782
But it was actually his son,
Julian, Julian Lennon,
471
00:19:19,326 --> 00:19:22,536
who'd been at school
and had brought back
472
00:19:22,538 --> 00:19:26,078
a little drawing
of his school friend, Lucy.
473
00:19:26,375 --> 00:19:29,285
He'd drawn stars around her.
474
00:19:29,878 --> 00:19:33,258
And so he called them diamonds,
and this was Lucy,
475
00:19:33,257 --> 00:19:35,127
and because she was
sort of floating,
476
00:19:35,133 --> 00:19:37,223
she was Lucy in the sky
with diamonds.
477
00:19:37,511 --> 00:19:39,561
He said, "I think
it's a good title for a song."
478
00:19:39,555 --> 00:19:40,465
Yeah.
479
00:19:40,472 --> 00:19:42,892
And we were big
Lewis Carroll fans,
480
00:19:42,891 --> 00:19:45,271
Alice in Wonderland,
Alice Through the Looking Glass.
481
00:19:45,727 --> 00:19:50,187
And, uh, that was another point
of contact for me and John,
482
00:19:50,732 --> 00:19:53,942
these lyrics, you know,
the kaleidoscope eyes.
483
00:19:53,944 --> 00:19:55,994
It's sort of
straight out of Alice,
484
00:19:55,988 --> 00:19:57,318
almost the Cheshire cat.
485
00:19:57,322 --> 00:20:00,582
Mmhmm.
It was, you know, vanishes,
486
00:20:00,576 --> 00:20:03,076
the caterpillar smoking
his big hookah.
487
00:20:03,078 --> 00:20:03,788
Yeah.
488
00:20:03,787 --> 00:20:06,457
And it was a head job,
you know, it was like
Yeah.
489
00:20:06,456 --> 00:20:08,376
The truth is,
everyone was getting stoned.
490
00:20:08,375 --> 00:20:08,825
Yeah.
491
00:20:08,834 --> 00:20:12,674
And it was intentionally
a sort of fun album
492
00:20:12,671 --> 00:20:15,671
for the... high times.
493
00:20:16,008 --> 00:20:17,678
Yeah. It worked.
[laughs]
494
00:20:18,427 --> 00:20:19,427
It did, yeah.
495
00:20:20,053 --> 00:20:21,643
Tell me about first time
in India.
496
00:20:22,264 --> 00:20:25,234
So we were in the middle
of sort of the drug culture
497
00:20:25,225 --> 00:20:28,975
and we were pretty wasted,
you know, pretty burned out.
498
00:20:29,730 --> 00:20:32,860
We'd seen Maharishi
when we were kids
499
00:20:32,858 --> 00:20:34,818
on sort of black and white television.
500
00:20:35,152 --> 00:20:36,702
And he giggles,
and we're going, you know,
501
00:20:36,695 --> 00:20:39,355
just kids in Liverpool,
we're going, "Love this guy."
502
00:20:40,532 --> 00:20:43,912
And then years later,
we did a little course in England,
503
00:20:43,911 --> 00:20:47,411
and then we ended up
going out to India.
504
00:20:47,414 --> 00:20:50,134
♪ Within You Without You playing ♪
505
00:20:50,125 --> 00:20:52,455
Why we were doing it is
because we needed it.
506
00:20:52,461 --> 00:20:53,051
RICK: Yeah.
507
00:20:53,045 --> 00:20:55,165
PAUL: It's all like, "Oh my God,"
we were working a lot,
508
00:20:55,172 --> 00:20:56,552
and recording a lot.
509
00:20:57,299 --> 00:21:02,259
So... going there was
a great relief, you know.
510
00:21:04,515 --> 00:21:09,225
So yeah, we went out and stayed
at this place in Rishikesh,
511
00:21:10,687 --> 00:21:11,897
which are now apparently,
512
00:21:11,897 --> 00:21:14,897
it's The Beatles meditation camp.
[Rick laughing]
513
00:21:14,900 --> 00:21:17,860
It's a little bit rundown.
I met someone who'd been there.
514
00:21:17,861 --> 00:21:21,111
But it was a very gentle time,
it was a very beautiful time.
515
00:21:21,114 --> 00:21:22,574
And we'd all brought our guitars,
516
00:21:22,574 --> 00:21:24,334
so we were all writing.
517
00:21:24,326 --> 00:21:26,746
♪ Dear Prudence playing ♪
518
00:21:26,745 --> 00:21:29,495
I wrote ObLaDi, ObLaDa there,
519
00:21:30,040 --> 00:21:32,790
which is not really spiritual.
520
00:21:32,793 --> 00:21:34,093
It was just a song.
521
00:21:35,128 --> 00:21:36,628
And John wrote this.
522
00:21:36,630 --> 00:21:39,010
JOHN: ♪ Dear Prudence ♪
523
00:21:39,007 --> 00:21:42,467
♪
524
00:21:42,469 --> 00:21:45,759
♪ Won't you come out to play? ♪
525
00:21:45,764 --> 00:21:48,814
So is this like you imagined
when John played it for you first
526
00:21:48,809 --> 00:21:49,559
Yeah.
It was like this?
527
00:21:49,560 --> 00:21:50,730
Pretty much, yeah.
528
00:21:51,270 --> 00:21:52,900
It wasn't double tracked,
of course, but I mean,
529
00:21:52,896 --> 00:21:54,976
just the simple version
of this, yeah.
530
00:21:56,149 --> 00:21:59,359
There was a girl there
who was called Prudence Farrow,
531
00:21:59,987 --> 00:22:02,027
and she was Mia Farrow's sister.
532
00:22:02,573 --> 00:22:05,703
The word got out
that she was in her chalet
533
00:22:06,034 --> 00:22:07,544
and wouldn't come out.
534
00:22:08,370 --> 00:22:11,160
So we all sort of wanted
to go over.
535
00:22:11,748 --> 00:22:14,668
And John was playing
and singing this to her.
536
00:22:15,127 --> 00:22:16,037
♪ Dear Prudence ♪
537
00:22:16,753 --> 00:22:20,223
♪ Won't you come out to play? ♪
538
00:22:20,215 --> 00:22:21,875
♪
539
00:22:21,884 --> 00:22:23,094
Yeah.
Yeah.
540
00:22:23,093 --> 00:22:25,053
It's that juxtaposition thing, again.
541
00:22:26,096 --> 00:22:27,716
It's really a real folk song.
542
00:22:28,849 --> 00:22:29,889
♪ isolates bass ♪
543
00:22:29,892 --> 00:22:30,892
That's not.
544
00:22:30,893 --> 00:22:32,393
No, this is not folky.
545
00:22:33,687 --> 00:22:35,017
Interesting tone.
546
00:22:35,606 --> 00:22:38,356
Wow. Really percussive, like
547
00:22:38,358 --> 00:22:39,648
With the treble.
Yeah.
548
00:22:39,651 --> 00:22:40,901
I liked to do that.
549
00:22:40,903 --> 00:22:45,243
You know, we'd use a pick,
then you get that very treble end,
550
00:22:45,240 --> 00:22:46,990
but then you get
the bass as well.
551
00:22:46,992 --> 00:22:47,952
Yeah.
552
00:22:48,952 --> 00:22:52,002
♪ Dear Prudence ♪
553
00:22:54,666 --> 00:23:00,666
♪ See the sunny skies ♪
554
00:23:02,049 --> 00:23:04,469
♪ The wind is low,
the birds will sing ♪
555
00:23:04,468 --> 00:23:05,338
It's long.
556
00:23:06,386 --> 00:23:07,756
Yeah.
How'd that happen?
557
00:23:08,138 --> 00:23:10,178
♪ Dear Prudence ♪
558
00:23:10,182 --> 00:23:13,102
I think we were like, you know,
that was like a challenge.
559
00:23:13,101 --> 00:23:14,271
Yeah. See who can
560
00:23:14,269 --> 00:23:15,729
Who can hold
the note that long.
561
00:23:15,729 --> 00:23:18,479
♪
562
00:23:18,482 --> 00:23:23,822
♪ vocalizing ♪
563
00:23:23,820 --> 00:23:27,200
♪
564
00:23:27,199 --> 00:23:30,619
♪ vocalizing continues ♪
565
00:23:30,619 --> 00:23:32,199
Wow, that's long.
566
00:23:33,163 --> 00:23:34,003
Breathe in.
567
00:23:33,997 --> 00:23:38,087
♪
568
00:23:38,085 --> 00:23:39,625
Yeah.
Incredible.
569
00:23:39,628 --> 00:23:41,338
Yeah, it was just,
you know, it's like,
570
00:23:42,130 --> 00:23:43,550
you wanted it to go
right through.
571
00:23:43,549 --> 00:23:45,429
We could have stopped it halfway.
Yeah, yeah, yeah.
572
00:23:45,425 --> 00:23:46,545
Taken a breath.
Yeah.
573
00:23:47,177 --> 00:23:49,217
But it was like,
it's like mischief.
574
00:23:49,221 --> 00:23:51,311
"No, you know, let's try
and see if we can hold it."
575
00:23:51,306 --> 00:23:52,636
So it was like...
[inhales deeply]
576
00:23:53,225 --> 00:23:54,725
♪ Ah ♪
Yeah.
577
00:23:54,726 --> 00:23:55,976
[squeaks]
578
00:23:56,270 --> 00:23:56,940
You know.
579
00:23:57,521 --> 00:24:00,321
And that would have been you,
John, and George?
580
00:24:00,315 --> 00:24:01,525
Yeah, I think so.
Singing together, probably?
581
00:24:01,525 --> 00:24:02,475
Yeah.
Typically.
582
00:24:02,484 --> 00:24:04,404
Yeah. That high note's me.
583
00:24:04,403 --> 00:24:05,613
Yeah.
Yeah.
584
00:24:05,612 --> 00:24:08,412
No, I remember that.
We would do that.
585
00:24:08,407 --> 00:24:10,277
It would be like,
"It's so long, sorry."
586
00:24:10,284 --> 00:24:12,374
"Yeah. But you can do it.
We can do it."
587
00:24:12,911 --> 00:24:15,041
"No, we can't. It's too long."
Yeah, yeah.
588
00:24:15,038 --> 00:24:16,118
"Let's try it."
Yeah, yeah.
589
00:24:16,123 --> 00:24:17,463
You know, and itwe
590
00:24:17,457 --> 00:24:19,627
You were playing around.
Yeah, it's fun, you know.
591
00:24:20,002 --> 00:24:21,252
So you're pushing yourself.
592
00:24:21,879 --> 00:24:25,259
♪ Won't you come out to play? ♪
593
00:24:26,967 --> 00:24:27,837
It was great.
594
00:24:27,843 --> 00:24:30,643
I, I say to people, you know,
who are into meditation,
595
00:24:30,637 --> 00:24:34,597
I was very lucky 'cause I got
my mantra off Maharishi himself.
596
00:24:34,600 --> 00:24:35,350
Directly.
597
00:24:35,350 --> 00:24:37,560
So I feel kind of privileged,
you know...
Yes.
598
00:24:37,561 --> 00:24:40,021
...that we were just there,
at that time.
599
00:24:40,606 --> 00:24:43,896
He basically said,
"I'm going to give you a mantra."
600
00:24:43,901 --> 00:24:44,441
Hm.
601
00:24:44,443 --> 00:24:46,653
"These are ancient words,
602
00:24:47,154 --> 00:24:49,324
"uh, and why I would give you
these words
603
00:24:49,323 --> 00:24:51,993
"is they've been tried
and tested.
604
00:24:51,992 --> 00:24:53,332
"So I'll give you your word.
605
00:24:53,702 --> 00:24:56,582
"And I would like you
to just repeat it back to me.
606
00:24:56,580 --> 00:24:59,500
"And, uh, if it's right,
I'll say yes,
607
00:24:59,499 --> 00:25:01,169
and you don't ever say it again."
608
00:25:01,627 --> 00:25:05,207
So he told me,
and I repeated it back,
609
00:25:05,214 --> 00:25:06,804
and that was it.
Yeah.
610
00:25:06,798 --> 00:25:09,678
I used that mantra,
and we continued,
611
00:25:10,052 --> 00:25:11,642
and, um, it was good.
612
00:25:12,012 --> 00:25:16,982
I learned when I was 14
based on... Beatles meditated,
613
00:25:16,975 --> 00:25:19,515
so I've got to learn that.
614
00:25:19,520 --> 00:25:21,150
So I'm, I'm, I'm there.
615
00:25:21,146 --> 00:25:22,726
[laughs]
I'm rightI'm with you.
616
00:25:22,731 --> 00:25:24,861
And it changed
my life only for the better.
617
00:25:24,858 --> 00:25:26,608
Yeah.
A million percent.
618
00:25:26,610 --> 00:25:28,490
Well, I love that
about The Beatles.
619
00:25:28,487 --> 00:25:29,107
Yeah.
620
00:25:29,112 --> 00:25:31,452
A lot of our influences
were, like, really good.
621
00:25:31,448 --> 00:25:32,278
Yeah.
622
00:25:32,282 --> 00:25:36,122
You know, sort of
spiritual meditation,
623
00:25:36,119 --> 00:25:37,369
this kind of thing,
624
00:25:38,163 --> 00:25:42,383
and, you know, so I think we laid out
a few paths for people to follow.
625
00:25:43,043 --> 00:25:46,553
And it has, I think it's had
a good effect on the world, you know.
626
00:25:46,547 --> 00:25:47,547
Absolutely.
627
00:25:47,923 --> 00:25:51,303
But you're looking back on it,
it's a great blessing
628
00:25:51,301 --> 00:25:53,351
that people picked up on it
629
00:25:53,345 --> 00:25:56,265
and it actually helped them
in their lives,
630
00:25:57,099 --> 00:25:58,639
and that's a great thing.
631
00:25:58,642 --> 00:26:01,852
♪ Hey, Jude ♪
632
00:26:01,854 --> 00:26:03,944
♪ Don't make it bad ♪
633
00:26:05,607 --> 00:26:08,487
♪ Take a sad song ♪
634
00:26:08,485 --> 00:26:11,315
♪ And make it better ♪
635
00:26:12,614 --> 00:26:17,084
♪ Remember to let her
under your skin ♪
636
00:26:17,870 --> 00:26:20,120
♪ Then you'll begin ♪
637
00:26:20,747 --> 00:26:23,667
♪ To make it better ♪
638
00:26:23,667 --> 00:26:27,667
♪ Better, better,
better, better, better♪
639
00:26:27,671 --> 00:26:30,341
♪ Oh yeah ♪
640
00:26:30,340 --> 00:26:32,930
♪ Yeah, yeah, yeah,
yeah, yeah, yeah, yeah ♪
641
00:26:32,926 --> 00:26:35,136
♪ Na na na na ♪
642
00:26:35,929 --> 00:26:38,469
♪ Na na na na ♪
643
00:26:38,473 --> 00:26:40,143
♪ Hey, Jude ♪
644
00:26:42,561 --> 00:26:48,031
♪ Naa na na na na na na ♪
645
00:26:49,193 --> 00:26:51,743
♪ Na na na na ♪
646
00:26:51,737 --> 00:26:53,777
♪ Hey, Jude ♪
647
00:26:55,782 --> 00:27:01,162
♪ Naa na na na na na na ♪
648
00:27:02,456 --> 00:27:04,956
♪ Na na na na ♪
649
00:27:04,958 --> 00:27:06,668
♪ Hey, Jude ♪
650
00:27:09,087 --> 00:27:14,507
♪ Naa na na na na na na ♪
651
00:27:14,510 --> 00:27:15,590
♪ Oh yeah ♪
652
00:27:15,594 --> 00:27:18,264
♪ Na na na na ♪
653
00:27:18,263 --> 00:27:20,603
♪ Hey, Jude ♪
654
00:27:22,351 --> 00:27:27,771
♪ Naa na na na na na na ♪
655
00:27:28,982 --> 00:27:31,492
♪ Na na na na ♪
656
00:27:31,485 --> 00:27:32,735
♪ Hey, Jude ♪
657
00:27:32,736 --> 00:27:35,696
♪ Jude, Jude, Judy,
Judy, Judy, Judy ♪
658
00:27:35,697 --> 00:27:41,197
♪ Naa na na na na na na ♪
659
00:27:42,037 --> 00:27:44,537
♪ Na na na na ♪
660
00:27:44,540 --> 00:27:46,460
♪ Hey, Jude ♪
661
00:27:46,458 --> 00:27:48,708
♪ Come on and make it, Judy ♪
662
00:27:48,710 --> 00:27:54,050
♪ Naa na na na na na na ♪
♪ Yeah, yeah, yeah ♪
663
00:27:54,716 --> 00:27:57,426
♪ Na na na na ♪
664
00:27:57,427 --> 00:27:58,677
♪ Hey, Jude ♪
665
00:27:58,679 --> 00:28:01,559
♪ Yeah, yeah, yeah, yeah,
yeah, yeah, yeah, yeah ♪
666
00:28:01,557 --> 00:28:06,687
♪ Naa na na na na na na ♪
667
00:28:07,729 --> 00:28:10,399
♪ Na na na na ♪
668
00:28:10,399 --> 00:28:12,779
♪ Hey, Jude ♪
669
00:28:13,068 --> 00:28:14,398
MAN: Goodnight,
ladies and gentlemen.
670
00:28:14,403 --> 00:28:19,743
♪ Naa na na na na na na ♪
671
00:28:20,826 --> 00:28:23,326
♪ Na na na na ♪
672
00:28:23,328 --> 00:28:25,748
♪ Hey, Jude ♪
673
00:28:27,291 --> 00:28:32,051
♪ Naa na na na na na na ♪
674
00:28:32,045 --> 00:28:33,755
♪ Oh yeah, yeah ♪
675
00:28:33,755 --> 00:28:35,215
♪ Na na na na ♪
676
00:28:36,175 --> 00:28:37,755
♪ Hey, Jude ♪
677
00:28:40,220 --> 00:28:43,810
♪ Naa na na na na na na ♪
♪ Oh, yeah ♪
678
00:28:43,807 --> 00:28:46,097
♪ Take a load off, baby ♪
679
00:28:46,643 --> 00:28:49,103
♪ Na na na na ♪
680
00:28:49,104 --> 00:28:49,944
♪ Hey, Jude ♪
681
00:28:49,938 --> 00:28:51,898
♪ Take a load off for me ♪
682
00:28:51,899 --> 00:28:53,399
♪ Put it back on me ♪
49213
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