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[crowd cheering]
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-[♪ "Help!" playing]
-♪ ...not so self-assured ♪
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♪ Now I find I've changed my mind ♪
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♪ I've opened up the doors ♪
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♪ Help me if you can, I'm feeling down ♪
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♪ And I do appreciate you being 'round ♪
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[♪ music concludes]
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[ship horn blaring]
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[seagulls squawking]
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[♪ "In My Life" playing]
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♪ There are places I remember
all my life ♪
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♪ Though some have changed ♪
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♪ Some forever, not for better ♪
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♪ Some have gone and some remain ♪
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♪ All these places had their moments ♪
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♪ With lovers and friends
I still can recall ♪
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♪ Some are dead and some are living ♪
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♪ In my life I've loved them all ♪
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♪ But of all these friends and lovers ♪
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♪ There is no one compares with you ♪
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♪ And these memories lose their meaning ♪
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♪ When I think of love as something new ♪
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♪ Though I know
I'll never lose affection ♪
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♪ For people and things that went before ♪
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♪ I know I'll often stop
and think about them ♪
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♪ In my life I love you more ♪
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♪ Though I know
I'll never lose affection ♪
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♪ For people and things that went before ♪
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♪ I know I'll often stop
and think about them ♪
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♪ In my life I love you more ♪
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♪ In my life I love you more ♪
32
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[♪ music concludes]
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[♪ "Help!" playing]
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-♪ Help! ♪
-♪ I need somebody ♪
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-♪ Help! ♪
-♪ Not just anybody ♪
36
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-♪ Help! ♪
-♪ You know I need someone ♪
37
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-Help!
-[♪ music concludes]
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[John] Let's go back and get 'em, eh?
39
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-I'm game.
-Yeah, let's smash 'em.
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-Let's find that temple, eh?
-[Paul] Right! To the temple.
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A man's got to do what he's got to do.
42
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[George] I don't reckon
all this running away.
43
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[John] Let's go back...
back, back, back...
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[♪ "In The Mood" playing]
45
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...back, back, back, back,
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back, back, back, back,
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back, back, back, back,
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back, back, back, back,
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back, back, back, back,
50
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back, back, back, back,
51
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back, back, back, back...
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[♪ music concludes]
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[♪ "We'll Meet Again" playing]
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♪ We'll meet again ♪
55
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♪ Don't know where, don't know when... ♪
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[Ringo] My mother used to say that, uh,
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because I was born,
the Second World War started.
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♪ Some sunny day... ♪
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[John] I spent some time
with Mother up till about four,
60
00:04:19,920 --> 00:04:21,960
then me father split.
He was a merchant seaman,
61
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you know, you can imagine, and--
62
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and it was 1940s in the War, and all that.
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♪ ...always do... ♪
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♪ 'Til the blue skies drive
the dark clouds ♪
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♪ Far away... ♪
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[Paul] My mum was a Catholic.
Dad was a Protestant.
67
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They got married quite late.
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I think they had me
when they were, like, 40,
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or something. It was quite sort of late.
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♪ ...be long ♪
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♪ They'll be happy to know ♪
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♪ That as you saw me go ♪
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♪ I was singing... ♪
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[George] My father was driving
a bus at the time I was born,
75
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and I lived in a two-up
and two-down, 12 Arnold Grove.
76
00:05:03,960 --> 00:05:09,560
♪ Don't know where, don't know when ♪
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♪ But I know we'll meet again ♪
78
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-[machine gun fire]
-[explosions]
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-♪ Some sunny day ♪
-[♪ music concludes]
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[Ringo] We were all roughly the same age,
and we were like the first...
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[♪ "I'm Beginning
To See The Light" playing]
82
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...group of, uh, people
who didn't go in the Army.
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[Major] Halt!
84
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[Paul] Me mum was a nurse.
She was a midwife as well.
85
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And my dad was a cotton salesman.
86
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[John] I was raised by my auntie.
87
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Me father and me mother split
when I was about four.
88
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But I spent some time
with Mother up till about four.
89
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Then I was brought up by an auntie.
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[Ringo] Dad, uh, was a, uh...
he made cakes,
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so we always had sugar through the War.
92
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Mum? She ended up doing a lot of jobs
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'cause he left when I was three.
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He decided that was enough of that,
95
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and, uh, so she did any
down-home job she could get
96
00:06:02,720 --> 00:06:04,440
to feed and clothe me.
97
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[George] My mother was, um,
from an Irish family
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called French,
99
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and, uh, she had lots
of brothers and sisters,
100
00:06:14,440 --> 00:06:16,200
uncles who had bald heads,
101
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who used to say they got their bald heads
102
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by knocking pub doors open! [chuckles]
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[Ringo] I was terrible at school
because I didn't spend much time there
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because I was also very sick as a kid.
105
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I had, uh, peritonitis
when I was six and a half,
106
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which just means burst appendix
and you're gonna die.
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00:06:33,160 --> 00:06:34,880
And they said to my mother,
"He'll be dead" three times.
108
00:06:34,960 --> 00:06:36,520
But here we are. We're still here.
109
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[Paul] My dad was a musician,
amateur musician,
110
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and, uh, he would play piano
around the house.
111
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We always had a piano.
112
00:06:44,840 --> 00:06:46,480
And I've got some lovely
childhood memories
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of sort of lying on the floor
and hearing him play.
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[George] In those days,
they had those radios,
115
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like crystal sets.
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You used to have to take the battery
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down to some shop on the corner,
118
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and then leave it with them
for about three days
119
00:07:00,360 --> 00:07:01,440
to charge it up.
120
00:07:01,520 --> 00:07:04,080
[Ringo] Everybody has
their party piece in Liverpool.
121
00:07:04,160 --> 00:07:05,640
You have to sing a song.
122
00:07:06,080 --> 00:07:08,120
And, uh, my mother's was, uh...
123
00:07:08,680 --> 00:07:10,760
"Little Drummer Boy",
she would sing to me,
124
00:07:10,840 --> 00:07:12,400
and I would sing "Nobody's Child" to her,
125
00:07:12,480 --> 00:07:14,240
and she'd always cry. [laughs]
126
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[♪ sings "Nobody's Child"]
♪ I'm nobody's child... ♪ Mum.
127
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[Paul] John really loved his mother,
128
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'cause she was great. I loved her, too.
129
00:07:21,560 --> 00:07:23,320
And she played a little ukulele.
130
00:07:23,720 --> 00:07:25,800
And then, unfortunately,
she was, uh, run over
131
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by an off-duty policeman
who was drunk at the time.
132
00:07:29,560 --> 00:07:31,560
[Paul] My mum had died,
actually, at this point.
133
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My mum died when I was, uh, 14,
134
00:07:34,240 --> 00:07:36,400
which is, you know,
the big shock in my teenage years.
135
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-She died of cancer.
-[♪ music concludes]
136
00:07:38,160 --> 00:07:40,920
And John's mum having died,
this was always a very big bond
137
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between John and I.
138
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[♪ "C'mon Everybody" playing]
139
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[John] Rock and roll was real.
140
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Everything else was unreal.
To me, it got through.
141
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It was the only thing to get through to me
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out of all the things that were happening
143
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-when I was 15, you know.
-[♪ music concludes]
144
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-[♪ "Rocket 88" playing]
-♪ You women have heard of jalopies ♪
145
00:08:01,400 --> 00:08:02,600
♪ You've heard the noise they make ♪
146
00:08:02,720 --> 00:08:05,520
♪ Well, let me introduce
my new Rocket 88... ♪
147
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[John] There was no such thing
as an English record, you know.
148
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I think the first English record
149
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that was anywhere near anything
was "Move It" by Cliff Richard,
150
00:08:13,360 --> 00:08:14,880
and before that, there'd been nothing.
151
00:08:14,960 --> 00:08:16,600
But the fact was
that there hadn't been a history
152
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of making that kind of music,
whereas there had in America.
153
00:08:20,160 --> 00:08:21,760
-[♪ music concludes]
-[♪ "Ain't That A Shame" playing]
154
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♪ You made me cry when you said goodbye ♪
155
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♪ Ain't that a shame... ♪
156
00:08:29,400 --> 00:08:31,160
[Paul] You can't imagine a time
157
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when rock and roll
was only one of the musics.
158
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-[♪ music concludes]
-[♪ "No Other Love" playing]
159
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♪ No other love have I... ♪
160
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[George] Whatever record was being played,
161
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you'd try and listen to it.
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You know, you couldn't even get
a cup of sugar,
163
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-let alone a rock and roll record.
-[♪ music concludes]
164
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So I went to art school.
I was at art school for five years.
165
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When I went-- this is a sort
of college, you know.
166
00:08:48,200 --> 00:08:49,280
I went in there,
167
00:08:49,400 --> 00:08:51,080
they would only allow jazz
to be played, you know.
168
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They wouldn't allow rock and roll in.
169
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It was frowned upon those days.
170
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So we had to con them
into letting us play rock and roll
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there on the record player,
by calling it "blues", you know.
172
00:08:58,400 --> 00:09:00,640
-[♪ "That's All Right" playing]
-♪ Well, that's all right, mama ♪
173
00:09:00,920 --> 00:09:02,800
♪ That's all right with you ♪
174
00:09:03,160 --> 00:09:05,200
♪ That's all right, mama ♪
175
00:09:05,320 --> 00:09:06,720
♪ Just any way you do ♪
176
00:09:06,800 --> 00:09:07,880
♪ That's all right... ♪
177
00:09:08,000 --> 00:09:10,720
I remember being in school
when I was a kid
178
00:09:10,800 --> 00:09:15,080
and, uh, somebody had a picture
in one of the musical papers,
179
00:09:15,640 --> 00:09:16,960
uh, of Elvis.
180
00:09:17,040 --> 00:09:18,680
And I just looked at it
and I just thought,
181
00:09:18,760 --> 00:09:20,160
-"He's just so good looking!"
-[♪ music concludes]
182
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He just looked perfect.
183
00:09:22,640 --> 00:09:25,440
[John] When I was 16,
Elvis was what was happening.
184
00:09:25,520 --> 00:09:27,400
A guy with long, greasy hair,
185
00:09:27,480 --> 00:09:31,240
wiggling his ass,
and singing "Hound Dog" and, uh,
186
00:09:31,320 --> 00:09:33,640
"That's All Right, Mama"
on those early Sun Records,
187
00:09:33,720 --> 00:09:35,520
which I think are his great period.
188
00:09:35,880 --> 00:09:38,560
[Paul] That's him!
That is the guru we have been waiting for.
189
00:09:38,680 --> 00:09:40,080
The Messiah has arrived.
190
00:09:40,160 --> 00:09:41,320
[♪ "Hound Dog" playing]
191
00:09:41,400 --> 00:09:43,280
♪ You ain't nothin' but a hound dog ♪
192
00:09:43,360 --> 00:09:44,440
[crowd cheering]
193
00:09:44,520 --> 00:09:46,560
♪ Cryin' all the time ♪
194
00:09:46,640 --> 00:09:48,560
[crowd cheering]
195
00:09:48,680 --> 00:09:52,440
♪ You ain't nothin'
but a hound dog, hound dog ♪
196
00:09:53,120 --> 00:09:55,200
♪ Cryin' all the time ♪
197
00:09:57,320 --> 00:10:00,760
♪ Well, you ain't never caught a rabbit ♪
198
00:10:00,840 --> 00:10:03,840
♪ You ain't no friend of mine ♪
199
00:10:03,920 --> 00:10:06,880
-[crowd cheering]
-[♪ music concludes]
200
00:10:07,000 --> 00:10:08,400
-[crowd cheering]
-[♪ "I'm In Love Again" playing]
201
00:10:08,480 --> 00:10:11,000
♪ Yes, it's me and I'm in love again ♪
202
00:10:12,200 --> 00:10:15,240
♪ Had no lovin' since you know when... ♪
203
00:10:16,120 --> 00:10:18,120
[George] I was about 12 or 13
204
00:10:18,200 --> 00:10:21,600
when I first heard Fats Domino,
"I'm In Love Again".
205
00:10:21,720 --> 00:10:23,080
That was what I would call
206
00:10:23,160 --> 00:10:25,240
the first "rock and roll" record
I ever heard.
207
00:10:26,120 --> 00:10:27,640
-[♪ music concludes]
-And then later on, you know,
208
00:10:27,720 --> 00:10:29,560
Elvis, Little Richard and Buddy Holly.
209
00:10:29,640 --> 00:10:32,520
-[♪ "Peggy Sue" playing]
-♪ I love you, Peggy Sue ♪
210
00:10:32,600 --> 00:10:35,480
♪ With a love so rare and true ♪
211
00:10:35,560 --> 00:10:41,160
♪ Oh Peggy, my Peggy Sue... ♪
212
00:10:41,240 --> 00:10:43,520
[Paul] There were lots of people
coming up then,
213
00:10:43,600 --> 00:10:45,160
and one of them was Buddy Holly.
214
00:10:45,640 --> 00:10:48,240
We loved his vocal sound
and we loved his guitar playing.
215
00:10:49,320 --> 00:10:51,240
But most of all, I think, was the fact
216
00:10:51,320 --> 00:10:53,400
that he actually wrote the stuff himself.
217
00:10:53,480 --> 00:10:56,040
-[♪ music concludes]
-That's what turned us on.
218
00:10:56,200 --> 00:10:58,320
-[♪ "When Did You Leave Heaven" playing]
-♪ Why... ♪
219
00:10:58,400 --> 00:11:00,960
[George] We got to hear people
like Big Bill Broonzy.
220
00:11:01,040 --> 00:11:03,320
I think he might have even done
a tour of England.
221
00:11:04,040 --> 00:11:07,760
♪ ...just for these earthly things? ♪
222
00:11:11,240 --> 00:11:16,720
♪ Why did you lose your little halo? ♪
223
00:11:18,680 --> 00:11:22,400
♪ Baby, why'd you drop your wings? ♪
224
00:11:23,880 --> 00:11:25,240
I was a big fan of his...
225
00:11:25,360 --> 00:11:27,120
-[♪ music concludes]
-...and, actually, Frankie Laine.
226
00:11:27,200 --> 00:11:28,200
[♪ "Jezebel" playing]
227
00:11:28,280 --> 00:11:32,200
♪ If ever a pair of eyes
promised paradise ♪
228
00:11:32,440 --> 00:11:36,600
♪ Deceiving me, grieving me,
leaving me blue... ♪
229
00:11:36,680 --> 00:11:39,280
[Ringo] I was listening to a lot
of Country and Western then.
230
00:11:39,840 --> 00:11:41,840
-Skiffle was coming through.
-[♪ music concludes]
231
00:11:41,920 --> 00:11:43,600
[John] You know, all those "train" songs
232
00:11:43,680 --> 00:11:45,240
and, uh, you know, "Rock Island Line",
233
00:11:45,320 --> 00:11:46,800
-and all that stuff.
-[♪ "Rock Island Line" playing]
234
00:11:46,880 --> 00:11:49,720
♪ Well, the Rock Island Line
is a mighty good road ♪
235
00:11:49,800 --> 00:11:51,800
♪ Well, the Rock Island Line
is the road to ride ♪
236
00:11:51,880 --> 00:11:53,880
♪ Yeah, the Rock Island Line
is a mighty good road ♪
237
00:11:53,960 --> 00:11:56,400
♪ And if you want to ride it,
gotta ride it like you find it ♪
238
00:11:56,480 --> 00:12:00,040
♪ Get your ticket at the station
on the Rock Island Line... ♪
239
00:12:00,160 --> 00:12:03,000
[George] I think the first music
I can remember hearing
240
00:12:03,080 --> 00:12:05,680
as guitar-oriented music...
241
00:12:05,760 --> 00:12:07,720
-[♪ music concludes]
-...was this record my dad brought
242
00:12:07,800 --> 00:12:08,880
from New York.
243
00:12:08,960 --> 00:12:12,080
-[♪ "T For Texas" playing]
-Uh, it was a guy called Jimmie Rodgers,
244
00:12:12,160 --> 00:12:13,600
The Singing Brakeman.
245
00:12:14,280 --> 00:12:18,000
♪ T for Texas, T for Tennessee ♪
246
00:12:19,720 --> 00:12:21,640
♪ T for Thelma ♪
247
00:12:22,120 --> 00:12:25,880
♪ That gal that made
a wreck out of me... ♪
248
00:12:26,040 --> 00:12:27,600
I went to see, um,
249
00:12:28,120 --> 00:12:30,280
Rock Around The Clock in the Isle of Man.
250
00:12:30,360 --> 00:12:33,040
My grandparents took me there
after I came out of hospital.
251
00:12:33,160 --> 00:12:34,720
-[♪ music concludes]
-And it was just sensational
252
00:12:34,800 --> 00:12:37,280
because, um, they ripped up the cinema,
253
00:12:37,880 --> 00:12:39,920
and this was good for me to see.
254
00:12:40,000 --> 00:12:41,400
[♪ "(We're Gonna) Rock
Around The Clock" playing]
255
00:12:41,480 --> 00:12:43,000
♪ When the chimes ring
five, six, and seven... ♪
256
00:12:43,080 --> 00:12:44,280
[George] In those days, you know,
257
00:12:44,360 --> 00:12:46,240
they say "beggars can't be choosers",
258
00:12:46,560 --> 00:12:49,080
and we were just desperate.
You'd just get anything.
259
00:12:49,160 --> 00:12:51,920
Whatever film came,
you'd just try and see it.
260
00:12:52,000 --> 00:12:54,200
♪ ...gonna rock around
the clock tonight ♪
261
00:12:54,280 --> 00:12:55,840
-[♪ "Ready Teddy" playing]
-♪ Goin' to the corner ♪
262
00:12:55,920 --> 00:12:57,040
♪ Pick up my sweetie pie ♪
263
00:12:57,120 --> 00:12:59,240
♪ She's my rock and roll baby,
she's the apple of my eye ♪
264
00:12:59,320 --> 00:13:00,360
♪ I'm ready... ♪
265
00:13:00,440 --> 00:13:02,560
[Paul] So when
Girl Can't Help It came along,
266
00:13:03,160 --> 00:13:05,360
instead of us looking at these
old black-and-white movies,
267
00:13:05,840 --> 00:13:08,920
suddenly this was in color,
and this was in widescreen.
268
00:13:09,080 --> 00:13:10,760
-[♪ music concludes]
-And there's a famous bit at the mi--
269
00:13:10,840 --> 00:13:12,080
at the beginning of Girl Can't Help It,
270
00:13:12,160 --> 00:13:13,240
where Tom Ewell comes on
271
00:13:13,320 --> 00:13:14,760
and he sort of says, "Okay, now..."
272
00:13:16,360 --> 00:13:17,440
"Widescreen!"
273
00:13:17,520 --> 00:13:19,720
[♪ orchestral instruments imitate
fingers clicking and screen rolling back]
274
00:13:22,280 --> 00:13:24,440
[♪ orchestral instruments imitate
fingers clicking and screen rolling back]
275
00:13:25,440 --> 00:13:26,440
"Color!"
276
00:13:26,560 --> 00:13:27,760
[♪ strings play pizzicato notes]
277
00:13:29,760 --> 00:13:32,640
Gorgeous lifelike color by DeLuxe.
278
00:13:33,160 --> 00:13:37,760
[♪ "The Girl Can't Help It"
orchestral music playing]
279
00:13:41,800 --> 00:13:42,840
[♪ music concludes]
280
00:13:42,920 --> 00:13:45,960
Sometimes you wonder
who's minding the store.
281
00:13:46,520 --> 00:13:47,640
[chuckles]
282
00:13:47,840 --> 00:13:51,200
And you cut to Jayne Mansfield.
And that's it. The game's over.
283
00:13:51,520 --> 00:13:52,640
[♪ "The Girl Can't Help It" playing]
284
00:13:52,760 --> 00:13:54,320
♪ If she walks by,
the menfolks get engrossed ♪
285
00:13:54,640 --> 00:13:56,600
♪ She can't help it,
the girl can't help it ♪
286
00:13:56,680 --> 00:14:00,080
♪ If she winks an eye,
the bread slice turn to toast ♪
287
00:14:00,160 --> 00:14:02,520
♪ She can't help it,
the girl can't help it... ♪
288
00:14:02,600 --> 00:14:04,240
You know, you went to see those movies
289
00:14:04,320 --> 00:14:05,440
with Elvis or somebody in it
290
00:14:05,520 --> 00:14:07,440
-when we were still in Liverpool...
-[♪ music concludes]
291
00:14:07,560 --> 00:14:09,160
...and you'd see everybody
waiting to see him, right?
292
00:14:09,240 --> 00:14:10,640
And I'd be waiting there too.
293
00:14:10,880 --> 00:14:13,240
And they'd all scream
when he came on the screen.
294
00:14:13,760 --> 00:14:15,640
So we thought, "That's a good job!"
295
00:14:15,760 --> 00:14:17,760
-[♪ "Ready Teddy" playing]
-♪ Ready, ready, ready to rock and roll ♪
296
00:14:18,040 --> 00:14:20,480
[John] When I was a kid,
I was a fan of Elvis Presley,
297
00:14:20,560 --> 00:14:22,560
and Little Richard, and Chuck Berry.
298
00:14:22,640 --> 00:14:24,760
I was just interested in the music
299
00:14:24,840 --> 00:14:26,720
and how to do it. How can I do that?
300
00:14:26,800 --> 00:14:28,040
And I studied the records.
301
00:14:28,120 --> 00:14:30,360
What did they sing? How are they doing it?
302
00:14:30,440 --> 00:14:32,040
How do they make this music?
303
00:14:32,120 --> 00:14:33,960
What is it that they're doing
that excites me,
304
00:14:34,040 --> 00:14:35,600
that I wanna do it?
305
00:14:35,720 --> 00:14:38,800
When I was 16, I re-established
a relationship with me mother
306
00:14:38,880 --> 00:14:40,920
for about four years. She taught me music.
307
00:14:41,240 --> 00:14:42,800
She first of all taught me the banjo.
308
00:14:42,880 --> 00:14:44,520
And from that
I progressed to guitar. She--
309
00:14:44,600 --> 00:14:46,160
The first song I learnt
was "Ain't That A Shame",
310
00:14:46,240 --> 00:14:47,680
an old rock hit, Fats Domino.
311
00:14:47,840 --> 00:14:49,320
It was a joke in the family,
312
00:14:49,400 --> 00:14:50,960
a guitar's all right for a hobby,
313
00:14:51,040 --> 00:14:52,680
but it won't earn you any money.
314
00:14:53,000 --> 00:14:55,120
Me dad used to be a trumpet
player himself,
315
00:14:55,320 --> 00:14:58,320
and for my birthday
he once bought me a trumpet
316
00:14:58,800 --> 00:15:00,240
from Rushworth and Dreaper's.
317
00:15:00,320 --> 00:15:03,800
It was one of the music stores
in, uh, Liverpool.
318
00:15:03,920 --> 00:15:07,440
But I suddenly figured out
that I wouldn't be able to sing
319
00:15:07,680 --> 00:15:09,240
with this thing stuck in me mouth.
320
00:15:09,800 --> 00:15:13,960
So I went back to the shop
and traded it in for a guitar.
321
00:15:14,520 --> 00:15:17,160
So that was a Zenith.
First guitar I ever had.
322
00:15:17,560 --> 00:15:20,400
I think hearing a little bit
of guitar music,
323
00:15:21,400 --> 00:15:23,800
um, made me want a guitar.
324
00:15:24,200 --> 00:15:27,400
I used to be at the back
of the class, drawing,
325
00:15:27,480 --> 00:15:29,000
trying to draw guitars,
326
00:15:29,240 --> 00:15:32,840
big cello cutaway guitars with f-holes,
327
00:15:32,920 --> 00:15:35,360
and little solid ones
with pointy cutaways,
328
00:15:35,440 --> 00:15:36,600
and rounded cutaways.
329
00:15:36,680 --> 00:15:39,680
And, you know, I was totally into guitars.
330
00:15:40,000 --> 00:15:41,920
And I heard about this kid
who had a guitar
331
00:15:42,040 --> 00:15:43,280
and it was three pound ten.
332
00:15:43,360 --> 00:15:47,960
It was just a little acoustic,
round-hole type guitar.
333
00:15:48,360 --> 00:15:50,560
And I got the three pound ten
off my mother.
334
00:15:50,640 --> 00:15:52,360
That was a lot of money in those days.
335
00:15:52,440 --> 00:15:54,360
I used to look in shops and see drums.
336
00:15:54,440 --> 00:15:56,480
That's all I looked at.
I never looked at guitars, or anything.
337
00:15:56,760 --> 00:16:00,880
I bought a 30-bob bass drum, 30 shillings.
338
00:16:01,280 --> 00:16:05,480
Huge mother!
Just a huge one-sided bass drum.
339
00:16:05,720 --> 00:16:07,000
And in our area
340
00:16:07,080 --> 00:16:09,040
there used to be lots and lots of parties.
341
00:16:09,960 --> 00:16:11,920
You know, your uncle,
who would play banjo,
342
00:16:12,000 --> 00:16:13,120
or the harmonica.
343
00:16:13,200 --> 00:16:15,800
My grandparents played mandolin
and banjo...
344
00:16:16,440 --> 00:16:18,960
um... There was always
someone playing something.
345
00:16:19,040 --> 00:16:22,640
And so I would play my big drum
and drive 'em mad.
346
00:16:22,720 --> 00:16:25,760
But because I was a kid,
uh, they'd let me do it.
347
00:16:25,880 --> 00:16:28,320
George and I lived very near
each other in Liverpool
348
00:16:28,640 --> 00:16:31,600
so, in fact, we were just
a bus stop away from each other.
349
00:16:32,360 --> 00:16:35,160
I'd get on the bus,
and then the stop afterwards,
350
00:16:35,240 --> 00:16:36,240
George'd get on.
351
00:16:36,360 --> 00:16:38,480
So, being quite close in age,
we'd sit together
352
00:16:38,560 --> 00:16:40,200
and we'd talk about stuff, and that.
353
00:16:40,480 --> 00:16:41,680
So, I suppose I used
354
00:16:41,760 --> 00:16:43,040
to talk down to him a little bit.
355
00:16:43,120 --> 00:16:44,440
It might have been a failing of mine
356
00:16:44,600 --> 00:16:45,960
to tend to sort of talk down to him,
357
00:16:46,040 --> 00:16:47,720
'cause I'd known him as a younger kid.
358
00:16:47,920 --> 00:16:50,960
[George] He was always
nine months older than I.
359
00:16:51,880 --> 00:16:54,880
Even now, he's still
nine months older than me.
360
00:16:55,560 --> 00:16:58,040
Paul and I used to just kind
of get together,
361
00:16:58,560 --> 00:17:01,440
played a bit, but it was--
we were just schoolboys then.
362
00:17:01,520 --> 00:17:03,120
There was no groups involved
363
00:17:03,200 --> 00:17:04,880
-till a little bit later.
-[♪ "Twist And Shout" playing]
364
00:17:05,000 --> 00:17:07,080
-♪ Whaah! ♪
-♪ Yeah ♪
365
00:17:07,160 --> 00:17:08,400
♪ Baby, now ♪
366
00:17:08,480 --> 00:17:09,880
♪ Shake it up, baby ♪
367
00:17:09,960 --> 00:17:11,800
♪ Twist and shout ♪
368
00:17:11,920 --> 00:17:13,360
♪ Twist and shout ♪
369
00:17:13,480 --> 00:17:15,880
♪ Come on, come on, come on,
come on, baby, now ♪
370
00:17:15,960 --> 00:17:17,240
♪ Come on, baby ♪
371
00:17:17,320 --> 00:17:19,360
♪ Come on and work it on out ♪
372
00:17:19,720 --> 00:17:21,160
♪ Work it on out ♪
373
00:17:21,240 --> 00:17:23,560
-[♪ music concludes]
-[John] Paul met me
374
00:17:23,640 --> 00:17:26,560
the first day I did
"Be-Bop-A-Lula" live on stage,
375
00:17:26,880 --> 00:17:28,880
and a f-- a mutual friend brought him
376
00:17:28,960 --> 00:17:31,080
to see my group called The Quarry Men.
377
00:17:31,840 --> 00:17:33,760
I had a mate at school
who was called Ivan.
378
00:17:33,840 --> 00:17:35,080
Ivan Vaughan.
379
00:17:35,160 --> 00:17:37,560
And we were born on exactly
the same day, in Liverpool,
380
00:17:37,640 --> 00:17:41,080
so we... we were great mates.
And, uh, one day he said,
381
00:17:41,160 --> 00:17:42,920
"Do you want to come
to the Woolton Village Fete?"
382
00:17:43,680 --> 00:17:44,920
So I said, "Yeah, all right."
383
00:17:45,120 --> 00:17:46,760
So we went along one Saturday afternoon.
384
00:17:46,840 --> 00:17:49,240
I remember coming into, uh, the field
385
00:17:49,320 --> 00:17:53,000
where they had the fete,
and just a bit over there,
386
00:17:53,080 --> 00:17:55,200
there was a wagon, uh,
and on the back of this--
387
00:17:55,280 --> 00:17:56,680
or a little stage or something, on--
388
00:17:56,760 --> 00:17:59,320
up on this stage there was
a few lads around.
389
00:17:59,400 --> 00:18:01,960
And there was one particular guy
I noticed at the front
390
00:18:02,160 --> 00:18:04,240
-had a sort of checked shirt...
-[♪ "Come Go With Me" playing]
391
00:18:04,320 --> 00:18:06,720
...sort of blondish
kinda hair, a little bit curly,
392
00:18:07,000 --> 00:18:10,600
sideboards, looking pretty cool,
and he was playing,
393
00:18:10,680 --> 00:18:13,160
sort of, one of these guitars
guaranteed not to crack,
394
00:18:13,240 --> 00:18:15,440
you know, not a very good one. But, um--
395
00:18:15,520 --> 00:18:17,080
But he was making a very good job of it,
396
00:18:17,160 --> 00:18:18,880
you know, and I remember
being quite impressed.
397
00:18:19,040 --> 00:18:21,160
And he was doing a song by The Del-Vikings
398
00:18:21,240 --> 00:18:23,080
called "Come Go With Me".
399
00:18:23,600 --> 00:18:24,880
And the thing about it was,
400
00:18:24,960 --> 00:18:26,400
he obviously didn't know the words,
401
00:18:26,880 --> 00:18:29,240
but he was pulling in lyrics
from blues songs.
402
00:18:29,320 --> 00:18:30,800
So instead of going, uh...
403
00:18:30,880 --> 00:18:33,920
♪ Come little darlin',
come and go with me ♪
404
00:18:34,000 --> 00:18:35,840
which is right, he'd then go...
405
00:18:35,920 --> 00:18:39,280
♪ Down, down, down to the penitentiary ♪
406
00:18:39,360 --> 00:18:40,920
And he'd be doing sort of stuff
he'd heard on
407
00:18:41,000 --> 00:18:43,000
Big Bill Broonzy records, and stuff.
408
00:18:43,080 --> 00:18:45,000
So I thought, "That's clever. That's...
409
00:18:45,080 --> 00:18:47,600
He's... He's pretty good." That was John.
410
00:18:48,960 --> 00:18:51,040
[John] And we met,
and we talked after the show.
411
00:18:51,160 --> 00:18:52,960
And... And I saw he had talent.
412
00:18:53,040 --> 00:18:54,640
And he was playing guitar backstage,
413
00:18:54,720 --> 00:18:56,760
and doing "Twenty Flight Rock"
by Eddie Cochran.
414
00:18:57,320 --> 00:18:59,760
-[crowd cheering]
-[♪ "Twenty Flight Rock" playing]
415
00:19:00,920 --> 00:19:04,040
♪ Ooh, well, I've got a girl
with a record machine ♪
416
00:19:04,120 --> 00:19:06,720
♪ When it comes to rockin'
she's the queen ♪
417
00:19:06,840 --> 00:19:08,920
♪ We love to dance on a Saturday night ♪
418
00:19:09,160 --> 00:19:11,240
♪ All alone
where I can hold her tight... ♪
419
00:19:11,320 --> 00:19:14,680
But the thing I think impressed
him the most was, um,
420
00:19:14,920 --> 00:19:15,960
I knew all the words.
421
00:19:16,080 --> 00:19:18,280
♪ So I walked one, two flight,
three flight, four ♪
422
00:19:18,480 --> 00:19:19,680
♪ Five, six, seven flight... ♪
423
00:19:19,760 --> 00:19:21,040
♪ Eight flight more ♪
424
00:19:21,120 --> 00:19:23,080
♪ Up on the 12th I'm startin' to drag ♪
425
00:19:23,160 --> 00:19:25,560
♪ 15 before I'm ready to sag ♪
426
00:19:25,640 --> 00:19:28,840
♪ Get to the top, I'm too tired to rock ♪
427
00:19:30,400 --> 00:19:32,920
♪ Well, called me up on the telephone ♪
428
00:19:33,000 --> 00:19:35,880
♪ Said, "Come on over, baby,
'cause I'm all alone" ♪
429
00:19:35,960 --> 00:19:38,320
♪ I said "Baby, you're mighty sweet" ♪
430
00:19:38,680 --> 00:19:40,640
♪ "But I'm in bed with achin' feet" ♪
431
00:19:40,880 --> 00:19:43,720
♪ This went on for a couple of days ♪
432
00:19:43,840 --> 00:19:45,560
♪ But I couldn't stay away ♪
433
00:19:45,640 --> 00:19:48,320
♪ So I walked one,
two flight, three flight, four ♪
434
00:19:48,400 --> 00:19:50,760
♪ Five, six, seven flight,
eight flight more ♪
435
00:19:51,320 --> 00:19:53,520
♪ Up on the 12th I'm startin' to sag ♪
436
00:19:53,600 --> 00:19:55,800
♪ 15 before I'm ready to drag ♪
437
00:19:56,120 --> 00:19:59,280
♪ I get to the top,
I'm too tired to rock ♪
438
00:19:59,360 --> 00:20:00,640
[♪ goes into guitar break]
439
00:20:00,720 --> 00:20:03,320
[John] I was the singer and the leader.
440
00:20:03,600 --> 00:20:05,040
Well, I made the decision
whether to have him
441
00:20:05,120 --> 00:20:07,200
in the group or not.
Was it better to have a...
442
00:20:07,560 --> 00:20:10,200
a guy who was better
than the people I had in?
443
00:20:10,640 --> 00:20:12,840
Obviously. Or not?
444
00:20:12,920 --> 00:20:15,160
And that decision was to let Paul in,
445
00:20:15,240 --> 00:20:16,480
to make the group stronger.
446
00:20:16,840 --> 00:20:18,200
-[♪ music concludes]
-[John] And I turned around
447
00:20:18,280 --> 00:20:19,640
to him right then
on first meeting and said,
448
00:20:19,720 --> 00:20:20,760
"Do you wanna join the group?"
449
00:20:20,840 --> 00:20:22,560
And I think he said yes the next day.
450
00:20:22,640 --> 00:20:24,360
[♪ "A Day In The Life"
final chord playing]
451
00:20:27,360 --> 00:20:29,080
[John] Now, George came through Paul.
452
00:20:29,920 --> 00:20:31,200
[Paul] I said,
"Well, I've got... I've got...
453
00:20:31,280 --> 00:20:33,200
I've got this friend who's...
who's really good, you know."
454
00:20:33,720 --> 00:20:35,480
And they said, "Well, yeah,
like, what?" you know.
455
00:20:35,560 --> 00:20:39,280
And I said, "Well, he can play
'Raunchy' perfectly."
456
00:20:39,760 --> 00:20:42,680
[♪ singing "Raunchy" riff]
"Dow, dow, dow, daga-da, dahn."
457
00:20:42,800 --> 00:20:44,680
-[♪ "Raunchy" (Instrumental) playing]
-And we all loved that song.
458
00:20:44,760 --> 00:20:46,760
So we said, "Well,
gotta... gotta try him out."
459
00:20:46,960 --> 00:20:50,640
I remember we ended up
on the top deck of a bus, empty,
460
00:20:50,800 --> 00:20:53,720
late-night-bus kind of thing,
and just us there,
461
00:20:53,800 --> 00:20:55,680
and I just, "Go on, George,
get your guitar out. Go on.
462
00:20:55,760 --> 00:20:57,560
You show 'em, man." I thought, you know...
463
00:20:57,640 --> 00:20:59,760
And he got it out.
[♪ singing "Raunchy" riff] "Dow, dow..."
464
00:20:59,840 --> 00:21:03,360
Sure enough, note perfect.
"Raunchy". "You're in!"
465
00:21:03,560 --> 00:21:05,360
[♪ "Something" (Instrumental) playing]
466
00:21:19,160 --> 00:21:20,160
[♪ music concludes]
467
00:21:20,240 --> 00:21:22,400
We were together much longer
than the public knew us.
468
00:21:22,480 --> 00:21:24,560
You know, it wasn't just from '64.
469
00:21:25,000 --> 00:21:26,880
I was 24 in '64,
470
00:21:26,960 --> 00:21:29,360
and I'd been playing with Paul
since I was 15,
471
00:21:29,960 --> 00:21:31,120
and he's very nice...
472
00:21:31,440 --> 00:21:33,000
-[host laughs]
-...and... [chuckles]
473
00:21:33,440 --> 00:21:35,600
...and George about
a year later, or something.
474
00:21:35,680 --> 00:21:37,880
So it's a long time
we spent together in...
475
00:21:37,960 --> 00:21:41,280
in all the most
extraordinary circumstances.
476
00:21:41,400 --> 00:21:43,320
[♪ "That'll Be The Day" playing]
477
00:21:44,280 --> 00:21:47,800
♪ Well, that'll be the day,
when you say goodbye ♪
478
00:21:47,880 --> 00:21:51,400
♪ Yeah, that'll be the day,
when you make me cry ♪
479
00:21:51,480 --> 00:21:55,360
♪ You say you're gonna leave,
you know it's a lie ♪
480
00:21:55,440 --> 00:21:58,720
♪ 'Cause that'll be the day
when I die... ♪
481
00:21:58,960 --> 00:22:00,400
[John] The first thing we ever recorded
482
00:22:00,480 --> 00:22:03,880
was "That'll Be The Day",
a Buddy Holly song,
483
00:22:04,080 --> 00:22:08,400
and one of Paul's, called, uh,
"In Spite Of All The Danger".
484
00:22:08,840 --> 00:22:10,560
And somewhere, it might be around,
485
00:22:10,640 --> 00:22:12,040
it's in Liverpool somewhere, that record,
486
00:22:12,120 --> 00:22:14,400
that's the actual
first recording we ever made.
487
00:22:14,840 --> 00:22:17,080
[Paul] I think it was starting
to dawn on us
488
00:22:17,160 --> 00:22:18,920
that it would be a good idea, if we could,
489
00:22:19,000 --> 00:22:20,440
to write our own stuff,
490
00:22:20,520 --> 00:22:22,800
'cause there were so many people
doing cover versions.
491
00:22:22,880 --> 00:22:24,880
And then I sang
"In Spite Of All The Danger",
492
00:22:24,960 --> 00:22:27,200
which is a little self-penned thing
493
00:22:27,280 --> 00:22:29,320
which was very influenced by Elvis.
494
00:22:29,440 --> 00:22:31,000
[♪ "In Spite Of All The Danger" playing]
495
00:22:32,720 --> 00:22:37,520
♪ In spite of all the danger ♪
496
00:22:38,160 --> 00:22:41,160
♪ In spite of all that may be ♪
497
00:22:41,280 --> 00:22:43,600
♪ Ah, ah, ah, ah ♪
498
00:22:43,680 --> 00:22:46,560
♪ I'll do anything for you ♪
499
00:22:46,720 --> 00:22:49,560
♪ Anything you want me to ♪
500
00:22:49,640 --> 00:22:53,360
-♪ If you'll be true to me ♪
-♪ Ah, ah, ah, ah... ♪
501
00:22:53,480 --> 00:22:55,000
[John] Everybody hung 'round in this...
502
00:22:55,720 --> 00:22:58,200
in this club in Liverpool
called the Jacaranda,
503
00:22:58,280 --> 00:23:01,200
which was near the art school,
near Paul and George's school,
504
00:23:01,280 --> 00:23:02,720
in the center of Liverpool.
505
00:23:03,480 --> 00:23:05,040
And so we started
hanging 'round there
506
00:23:05,120 --> 00:23:06,880
before we really formed a band, you know,
507
00:23:06,960 --> 00:23:08,840
when there was just me,
Paul and George.
508
00:23:10,080 --> 00:23:12,520
The early days, we used to show up at gigs
509
00:23:12,760 --> 00:23:16,480
with just three of us, me,
George and John, with guitars.
510
00:23:16,560 --> 00:23:18,160
And the fella who booked us'd say,
511
00:23:18,240 --> 00:23:19,280
"Where's the drummer?"
512
00:23:19,360 --> 00:23:21,840
We'd say, "The rhythm's in the guitars."
513
00:23:23,440 --> 00:23:25,840
[George] We... We once tried
to do this audition
514
00:23:25,960 --> 00:23:27,960
for Carroll Levis... There was this guy,
515
00:23:28,040 --> 00:23:32,120
Carroll Levis Discoveries.
And the scam, what it was,
516
00:23:32,200 --> 00:23:34,640
was that, you know,
everybody'd go on and audition
517
00:23:34,720 --> 00:23:37,600
and then they'd pick out somebody for...
518
00:23:37,720 --> 00:23:39,800
to, you know,
out of the auditions, and say,
519
00:23:39,880 --> 00:23:41,280
-"Okay, you, you and you."
-[♪ music concludes]
520
00:23:41,360 --> 00:23:44,680
And they'd pick out
about probably 20 different acts to go on.
521
00:23:45,160 --> 00:23:46,240
And they'd have an audience,
522
00:23:46,320 --> 00:23:47,720
and then they'd have the Clapometer,
523
00:23:47,800 --> 00:23:50,400
and whoever won
would go on into the final,
524
00:23:50,760 --> 00:23:52,240
or come back next week,
525
00:23:52,320 --> 00:23:53,880
and it was just something
that kept on going.
526
00:23:53,960 --> 00:23:55,480
We went in for one of those.
527
00:23:55,920 --> 00:23:57,160
So we were going up on the train
528
00:23:57,240 --> 00:23:58,880
from Liverpool to Manchester,
529
00:23:59,040 --> 00:24:00,720
rehearsing what we were going to do,
530
00:24:00,800 --> 00:24:02,600
and only me and George had our guitars.
531
00:24:02,680 --> 00:24:04,480
I think John, he must have sold his,
532
00:24:04,560 --> 00:24:06,560
or bust it, or something.
He didn't have his with him.
533
00:24:06,680 --> 00:24:09,320
Okay, there's just the two of us
with guitars.
534
00:24:09,400 --> 00:24:10,880
And, as it happened, it looked good,
535
00:24:10,960 --> 00:24:13,240
'cause Paul was, like, left-handed,
536
00:24:13,960 --> 00:24:17,200
and I was right-handed, and still am,
537
00:24:17,640 --> 00:24:20,160
and John was in the middle.
And, like, John stood there
538
00:24:20,240 --> 00:24:22,200
with a hand on each shoulder, you know.
539
00:24:22,360 --> 00:24:24,760
[singing "Think It Over"]
♪ Think it over what you just said ♪
540
00:24:24,880 --> 00:24:26,040
♪ Pa, pa, pah... ♪
541
00:24:26,120 --> 00:24:27,960
Me and George, John'd do the lead.
542
00:24:28,080 --> 00:24:30,440
And we were also gonna do "Rave On".
543
00:24:30,760 --> 00:24:31,760
So we went. We did it.
544
00:24:31,840 --> 00:24:33,720
He put his arms around us,
and stuff, and it was okay.
545
00:24:33,800 --> 00:24:35,160
We didn't win, as usual.
546
00:24:35,440 --> 00:24:39,400
But I believe that day
some unfortunate person in that,
547
00:24:39,480 --> 00:24:42,640
uh, theater was relieved of his guitar.
548
00:24:43,080 --> 00:24:48,120
[♪ "I Feel Fine"
first feedback note playing]
549
00:24:48,480 --> 00:24:51,760
[Paul] Stuart was
John's friend mainly, from art college.
550
00:24:51,840 --> 00:24:53,400
-[♪ music concludes]
-Stuart was a very good painter.
551
00:24:53,680 --> 00:24:56,000
We were all slightly jealous
of John's friendship.
552
00:24:56,200 --> 00:24:57,200
So when Stuart came in,
553
00:24:57,280 --> 00:24:58,680
it was a little bit of a sort of...
554
00:24:58,760 --> 00:25:00,680
he was sort of taking
a little bit of that position
555
00:25:00,760 --> 00:25:01,760
away from us.
556
00:25:01,840 --> 00:25:03,760
We sort of had to take
a little bit of a, um,
557
00:25:03,840 --> 00:25:04,840
back seat.
558
00:25:04,920 --> 00:25:07,360
[George] The famous story
is where he sold his painting
559
00:25:07,800 --> 00:25:10,920
to John Moore Exhibition,
or something like that.
560
00:25:11,520 --> 00:25:14,240
[Paul] So the question was,
"What do you do with 75 quid?"
561
00:25:14,520 --> 00:25:16,280
So we said, "Do you know,
that happens to be
562
00:25:16,360 --> 00:25:19,440
the exact amount it takes
to buy a Höfner bass,
563
00:25:20,040 --> 00:25:21,880
and that'd be a great thing
to spend the money on."
564
00:25:21,960 --> 00:25:23,280
He said, "No, no, I'm a painter.
565
00:25:23,360 --> 00:25:26,520
I've gotta spend it on paints,
and suchlike, you know."
566
00:25:26,720 --> 00:25:28,520
We said, "No, Stuart, really."
567
00:25:28,600 --> 00:25:31,960
And John and I kind of gave him
quite a sort of persuasive argument
568
00:25:32,040 --> 00:25:33,640
that the best thing to do, obviously,
569
00:25:33,800 --> 00:25:35,720
was to buy this Höfner bass. [chuckles]
570
00:25:35,840 --> 00:25:37,480
Which he did. He went and did that.
571
00:25:37,560 --> 00:25:40,760
And, um, only trouble was,
he couldn't play it.
572
00:25:41,560 --> 00:25:44,720
[George] But it was better
to have a bass player who,
573
00:25:45,120 --> 00:25:46,120
uh, couldn't play
574
00:25:46,200 --> 00:25:48,000
than to not have a bass player at all.
575
00:25:50,480 --> 00:25:51,480
[♪ "I'll Follow The Sun" playing]
576
00:25:51,560 --> 00:25:57,280
♪ Well, don't leave me alone out here ♪
577
00:25:58,080 --> 00:26:03,520
♪ Have courage
and follow me, my dear ♪
578
00:26:03,600 --> 00:26:05,480
-[♪ "One After 909" playing]
-♪ Well, she says she's travelling ♪
579
00:26:05,560 --> 00:26:07,400
♪ On the one after 909 ♪
580
00:26:08,680 --> 00:26:12,040
♪ I said move over, honey
I'm travelling on that line ♪
581
00:26:13,400 --> 00:26:16,120
♪ I said move over once, move over twice ♪
582
00:26:16,480 --> 00:26:18,640
♪ Come on, baby don't be cold as ice ♪
583
00:26:18,840 --> 00:26:22,440
♪ She said she's travelling
on the one after 909... ♪
584
00:26:24,520 --> 00:26:26,680
[John] Instead of going
to school, I'd go down
585
00:26:26,760 --> 00:26:28,520
to his place, he had a piano.
586
00:26:28,680 --> 00:26:32,000
And if I'd started something,
or he'd started something,
587
00:26:32,080 --> 00:26:34,560
we'd say, "Here, I've got this."
And he'd say, "I've got this."
588
00:26:34,640 --> 00:26:37,160
And we'd start helping
each other write our own songs
589
00:26:37,240 --> 00:26:39,880
like that. So any combination
of the two of us writing,
590
00:26:39,960 --> 00:26:41,320
that's how we wrote.
591
00:26:41,440 --> 00:26:43,640
[end of tape]
592
00:26:43,760 --> 00:26:48,120
John and Stuart had this...
this flat in a place
593
00:26:48,200 --> 00:26:49,520
called Gambier Terrace,
594
00:26:49,600 --> 00:26:51,600
right near the Liverpool Institute,
595
00:26:51,680 --> 00:26:52,840
near College of Art.
596
00:26:53,680 --> 00:26:57,280
And, uh, I remember one day they came up.
597
00:26:57,600 --> 00:26:58,680
John was all excited, saying,
598
00:26:58,760 --> 00:27:00,680
"Oh, I've thought of this name,
The Beatles."
599
00:27:00,920 --> 00:27:02,400
[Ringo] John thought
of the name "Beatles",
600
00:27:02,480 --> 00:27:04,080
and he'll tell you about it now.
601
00:27:04,760 --> 00:27:07,240
[John] Well, I had a vision when I was 12,
602
00:27:07,920 --> 00:27:10,520
and I saw a man
on a flaming pie, and he said,
603
00:27:10,600 --> 00:27:12,560
"You are Beatles with an A." And we are.
604
00:27:13,280 --> 00:27:15,680
[Neil Aspinall]
John put this thing in, um,
605
00:27:15,760 --> 00:27:18,520
The Mersey Beat, right,
which was also started
606
00:27:18,600 --> 00:27:21,480
by Bill Harry, who went
to art college with John,
607
00:27:22,000 --> 00:27:24,800
just saying that, uh,
this little guy appeared
608
00:27:24,880 --> 00:27:26,160
on a flaming pie,
609
00:27:27,280 --> 00:27:28,840
you know, in the sky, and said,
610
00:27:28,920 --> 00:27:31,200
"Let there be Beatles with an A."
611
00:27:31,520 --> 00:27:33,200
[John] I was looking
for a name, like The Crickets,
612
00:27:33,280 --> 00:27:34,520
that meant two things,
613
00:27:35,120 --> 00:27:36,800
and from Crickets I got to Beatles.
614
00:27:37,440 --> 00:27:39,520
When you said it,
people thought of crawly things.
615
00:27:39,880 --> 00:27:41,560
And when you read it, it was beat music.
616
00:27:42,040 --> 00:27:45,560
You know, I realized by watching
The Wild One,
617
00:27:45,640 --> 00:27:49,480
that the band... the... the gang
was all called the Beetles.
618
00:27:50,600 --> 00:27:52,200
And here it is now.
619
00:27:54,400 --> 00:27:55,760
You know, I've missed you.
620
00:27:56,560 --> 00:27:58,720
Ever since the club split up I missed you.
621
00:27:58,880 --> 00:28:00,920
We all missed you! Do you miss him?
622
00:28:01,000 --> 00:28:02,880
-[The Beetles] Yeah! Sure!
-Yeah. The Beetles missed you.
623
00:28:02,960 --> 00:28:04,200
All the Beetles missed you!
624
00:28:04,360 --> 00:28:06,040
[♪ "From Me To You" outro playing]
625
00:28:07,440 --> 00:28:09,080
-[John's voice echoes] And we are.
-[♪ music concludes]
626
00:28:10,120 --> 00:28:12,760
When we started off, um, we had a manager
627
00:28:12,840 --> 00:28:14,480
in Liverpool called Allan Williams,
628
00:28:15,000 --> 00:28:19,000
who was a small bloke, uh,
a little sort of high voice,
629
00:28:19,080 --> 00:28:21,120
little Welsh accent he had.
"All right, lads?"
630
00:28:21,600 --> 00:28:23,640
He was a great bloke.
He was a real good motivator.
631
00:28:23,720 --> 00:28:25,520
He was very good for us
at the time, you know.
632
00:28:25,880 --> 00:28:27,960
And we did a tour of Scotland.
633
00:28:28,720 --> 00:28:32,160
It was a pretty pathetic tour.
By the end of it we were broke.
634
00:28:32,480 --> 00:28:33,520
We had no money.
635
00:28:33,600 --> 00:28:35,680
We were all cold and freezing and,
636
00:28:36,280 --> 00:28:39,480
you know, just miserable and...
and that was it, you know.
637
00:28:39,560 --> 00:28:43,440
We all came back to Liverpool
and nothing happened really.
638
00:28:44,120 --> 00:28:45,120
We didn't really know--
639
00:28:45,200 --> 00:28:48,160
I felt really sad
'cause we were like orphans,
640
00:28:48,240 --> 00:28:49,240
or something. We didn't have--
641
00:28:49,320 --> 00:28:51,080
Our shoes were all full of holes,
642
00:28:51,160 --> 00:28:52,600
and our trousers were a mess.
643
00:28:53,160 --> 00:28:55,640
[John] I would say to the others
when they were depressed,
644
00:28:55,720 --> 00:28:57,120
or we were all depressed, you know,
645
00:28:57,200 --> 00:28:58,760
thinking that the group was going nowhere
646
00:28:58,840 --> 00:29:00,000
and this is a shitty deal
647
00:29:00,080 --> 00:29:02,040
and we're in a shitty dressing room,
648
00:29:02,240 --> 00:29:03,800
I'd say, "Where are we goin', fellas?"
649
00:29:04,800 --> 00:29:06,280
And they'd go, "To the top, Johnny"
650
00:29:06,360 --> 00:29:07,920
in pseudo-American voices.
651
00:29:08,000 --> 00:29:09,600
And I'd say, “Where's that, fellas?"
652
00:29:10,000 --> 00:29:12,000
And they'd say,
"To the toppermost of the poppermost."
653
00:29:12,080 --> 00:29:13,280
And I'd say, "Right!”
654
00:29:13,440 --> 00:29:15,560
Then we'd all sort of cheer up.
655
00:29:16,520 --> 00:29:18,880
[George] And then later,
Allan came to us and said,
656
00:29:19,200 --> 00:29:21,600
"Okay, lads, you can have
this job in Germany.
657
00:29:21,680 --> 00:29:24,600
The only problem is
you've got to be five people.
658
00:29:24,680 --> 00:29:26,680
He's asked for a five-piece band."
659
00:29:26,960 --> 00:29:28,920
At that point, Paul was the drummer
660
00:29:29,040 --> 00:29:31,000
because all the drummers didn't show up!
661
00:29:31,680 --> 00:29:33,160
And so, oh, that's right,
662
00:29:33,240 --> 00:29:34,960
I said, "Okay. I remember this guy
663
00:29:35,040 --> 00:29:38,480
who went up to this club,
and that we're gonna...
664
00:29:38,560 --> 00:29:41,200
you know, Pete Best. And he had
this drum kit for Christmas."
665
00:29:41,640 --> 00:29:42,960
[Paul] He was known on Merseyside
666
00:29:43,040 --> 00:29:47,360
as "Mean, Moody
and Magnificent Pete Best".
667
00:29:47,920 --> 00:29:49,400
[John] People who owned drum kits were far
668
00:29:49,480 --> 00:29:51,440
and few between. It was an expensive item.
669
00:29:51,880 --> 00:29:53,600
And they were usually idiots, you know.
670
00:29:53,920 --> 00:29:56,840
We got Pete Best
just 'cause we needed a drummer
671
00:29:56,960 --> 00:29:58,400
the next day to go to Hamburg.
672
00:29:58,600 --> 00:30:01,800
He came down to the Jacaranda club.
673
00:30:03,680 --> 00:30:05,600
We did a quick audition with him,
674
00:30:05,680 --> 00:30:08,400
and jumped in the van
and went to Hamburg.
675
00:30:09,080 --> 00:30:12,160
[♪ "Roll Over Beethoven" playing]
676
00:30:26,280 --> 00:30:27,640
♪ We're gonna write a little letter ♪
677
00:30:27,720 --> 00:30:30,440
♪ Gonna mail it to my local D.J. ♪
678
00:30:32,080 --> 00:30:35,960
♪ It's a rockin' little record
I want my jockey to play ♪
679
00:30:37,800 --> 00:30:41,880
♪ Roll over Beethoven,
gotta hear it again today ♪
680
00:30:43,520 --> 00:30:44,640
♪ You know my temperature's... ♪
681
00:30:44,720 --> 00:30:47,480
[Paul] We ended up in Hamburg
at-- um, very late one night.
682
00:30:47,560 --> 00:30:48,840
We'd got the timing wrong.
683
00:30:49,040 --> 00:30:50,400
There was no one there to meet us,
684
00:30:50,760 --> 00:30:52,880
but we could find Hamburg off the map
685
00:30:53,280 --> 00:30:55,600
but then trying to find St. Pauli,
686
00:30:55,680 --> 00:30:57,040
the little district in the Reeperbahn.
687
00:30:57,120 --> 00:30:58,120
But everyone knew.
688
00:30:58,200 --> 00:30:59,760
[in German accent] "Oh,
Reeperbahn, ja, it's dis vay,
689
00:30:59,840 --> 00:31:02,040
you von't miss it," you know,
"Keep right aus, and..."
690
00:31:02,120 --> 00:31:04,040
[naturally] Okay. So we went down,
691
00:31:04,120 --> 00:31:06,200
and we found the street and the club,
692
00:31:06,280 --> 00:31:07,520
but it was all closed.
693
00:31:07,800 --> 00:31:09,600
But we were there
with no hotel or anything,
694
00:31:09,680 --> 00:31:11,720
and it was now...
[pretends to yawn] ...bedtime, you know.
695
00:31:11,840 --> 00:31:14,040
So we managed to shake up someone
696
00:31:14,120 --> 00:31:15,440
from a neighboring club, or something.
697
00:31:15,520 --> 00:31:17,640
They... They found the guy,
and he opened the club,
698
00:31:17,720 --> 00:31:19,640
and we slept
the first night in the alcoves
699
00:31:19,720 --> 00:31:21,560
on the little red leather seats.
700
00:31:21,840 --> 00:31:23,960
[George] The second night
we moved in the Bambi Kino,
701
00:31:24,040 --> 00:31:27,200
and then we were there for ages,
like, two months, three months.
702
00:31:27,640 --> 00:31:29,480
Everything else was such a buzz,
703
00:31:29,560 --> 00:31:30,800
you know, being right in the middle
704
00:31:30,880 --> 00:31:35,120
of the naughtiest city
in the world at 17 years old.
705
00:31:35,200 --> 00:31:37,320
It was kind of exciting.
706
00:31:38,520 --> 00:31:41,560
And learning, you know, about,
well, there's all the gangsters,
707
00:31:41,640 --> 00:31:43,880
and there's the transvestites,
and there's the...
708
00:31:43,960 --> 00:31:46,160
You know, it was like that,
and there's the hookers.
709
00:31:46,520 --> 00:31:48,240
[Paul] At that time, we were just kids
710
00:31:48,320 --> 00:31:49,880
let off the leash, really,
711
00:31:49,960 --> 00:31:51,800
come straight from Liverpool to Hamburg,
712
00:31:52,240 --> 00:31:54,720
and we were used
to these little Liverpool girls.
713
00:31:54,920 --> 00:31:56,280
But by the time you got to Hamburg,
714
00:31:56,360 --> 00:31:57,920
if you... if you got a girlfriend there...
715
00:31:58,000 --> 00:31:59,640
-[♪ music concludes]
-...she was likely to be a stripper,
716
00:31:59,720 --> 00:32:01,400
which was the only kind
of people who were around
717
00:32:01,480 --> 00:32:04,320
at the time we were around
late at night there. So...
718
00:32:05,520 --> 00:32:06,560
I mean, you'd...
719
00:32:06,640 --> 00:32:08,360
And for someone
who'd not really had much sex
720
00:32:08,440 --> 00:32:10,760
in their lives before,
which none of us really had,
721
00:32:11,360 --> 00:32:13,920
to be suddenly involved
with a sort of hard-core
722
00:32:14,000 --> 00:32:15,640
striptease artist,
723
00:32:15,920 --> 00:32:18,920
who obviously knew a thing
or two about sex,
724
00:32:19,200 --> 00:32:21,640
um, was quite an eye-opener.
725
00:32:21,760 --> 00:32:23,120
[♪ "Money (That's What I Want)" playing]
726
00:32:23,200 --> 00:32:24,720
♪ The best things in life are free ♪
727
00:32:25,720 --> 00:32:28,560
♪ But you can keep 'em
for the birds and bees ♪
728
00:32:28,720 --> 00:32:32,120
-♪ Now give me money ♪
-♪ That's what I want ♪
729
00:32:32,200 --> 00:32:35,680
-♪ That's what I want ♪
-♪ That's what I want ♪
730
00:32:35,760 --> 00:32:39,840
-♪ That's what I want, yeah ♪
-♪ That's what I want ♪
731
00:32:40,520 --> 00:32:42,240
♪ That's what I want... ♪
732
00:32:43,880 --> 00:32:45,760
[John] In Hamburg, 'cause we had to work
733
00:32:45,840 --> 00:32:47,880
six or seven hours a night...
734
00:32:49,200 --> 00:32:51,400
on stage with no rest...
735
00:32:52,440 --> 00:32:56,040
the waiters always had
these pills called Preludin.
736
00:32:56,480 --> 00:32:57,840
And so the waiters, when they'd see
737
00:32:57,920 --> 00:33:01,840
the musicians falling over
with tiredness or with drink,
738
00:33:02,200 --> 00:33:03,400
they'd give you the pill.
739
00:33:03,600 --> 00:33:06,240
You'd take the pill, you'd be
talking, you'd sober up.
740
00:33:06,880 --> 00:33:09,160
You know, you could work almost endlessly
741
00:33:09,240 --> 00:33:11,520
until the pill wore off,
then you'd have to have another.
742
00:33:11,600 --> 00:33:14,160
We used to just be up there
frothing, you know,
743
00:33:14,240 --> 00:33:15,880
at the mouth, just foaming,
744
00:33:15,960 --> 00:33:20,240
just stomping away,
doing this, so... [laughing]
745
00:33:20,320 --> 00:33:21,520
Those were the days.
746
00:33:21,680 --> 00:33:23,360
[John] We had to play
all the tunes for hours
747
00:33:23,440 --> 00:33:24,880
and hours on end, you know.
748
00:33:24,960 --> 00:33:26,840
That's why every song lasted 20 minutes
749
00:33:26,920 --> 00:33:28,560
and had 20 solos in it.
750
00:33:28,800 --> 00:33:31,320
But we'd be playing, like,
eight or ten hours a night,
751
00:33:31,400 --> 00:33:32,400
or something.
752
00:33:32,480 --> 00:33:34,520
And that's what improved
the playing, you know.
753
00:33:34,720 --> 00:33:36,960
We thought we were the best
in Hamburg and Liverpool
754
00:33:37,040 --> 00:33:38,520
before anybody else had heard us.
755
00:33:38,600 --> 00:33:40,160
We thought we were the best!
756
00:33:40,240 --> 00:33:43,080
Just a matter of time
before everybody else caught on.
757
00:33:43,160 --> 00:33:45,680
And believing that
is what made us what we were.
758
00:33:45,760 --> 00:33:46,960
-[♪ music concludes]
-[Ringo] By the time
759
00:33:47,040 --> 00:33:48,160
we all met up in Germany,
760
00:33:48,240 --> 00:33:50,920
they were playing one club,
we were playing another, um,
761
00:33:51,320 --> 00:33:53,040
they were just great by then.
762
00:33:53,480 --> 00:33:55,160
[John] Ringo was a professional drummer
763
00:33:55,240 --> 00:33:57,800
who sang and performed,
and had "Ringo Starr Time!"
764
00:33:57,880 --> 00:34:00,640
And he was in the... one
of the top groups in Liverpool
765
00:34:00,720 --> 00:34:02,520
before we even had a drummer!
766
00:34:02,600 --> 00:34:03,840
Because we used to do long hours.
767
00:34:03,920 --> 00:34:06,560
We used to do 12 hours
in a weekend between two bands,
768
00:34:07,120 --> 00:34:09,680
uh, when we ended up
on the same club, and that.
769
00:34:09,760 --> 00:34:13,520
So if they had the last set,
I'd sort of be semi-drunk
770
00:34:14,280 --> 00:34:17,040
and demanding they play slow songs.
771
00:34:17,120 --> 00:34:19,000
[George] We made friends
with a lot of people.
772
00:34:19,080 --> 00:34:21,000
The ones who became our real friends
773
00:34:21,080 --> 00:34:25,480
were Klaus Voormann, Jürgen Vollmer,
774
00:34:26,320 --> 00:34:27,800
and Astrid, who took
775
00:34:27,880 --> 00:34:30,320
all the famous photographs
of us at that period.
776
00:34:31,360 --> 00:34:33,800
Well, she was the one
who made us look good.
777
00:34:33,960 --> 00:34:36,120
You know, those early Beatle photographs,
778
00:34:36,200 --> 00:34:38,760
they look fantastic.
The Beatles look great.
779
00:34:39,080 --> 00:34:42,360
She was dressed like that,
the leather kecks,
780
00:34:42,680 --> 00:34:45,000
you know, and the hair
like the Beatle haircuts,
781
00:34:45,080 --> 00:34:47,880
and so they gave us confidence
to, like, leave it that way.
782
00:34:47,960 --> 00:34:50,480
[Paul] They weren't really
Rockers or Mods,
783
00:34:50,640 --> 00:34:51,640
they were something in the middle.
784
00:34:51,720 --> 00:34:55,120
They called themselves
"Exis". Existentialists.
785
00:34:56,680 --> 00:34:58,920
They were art students, really. [laughs]
786
00:34:59,000 --> 00:35:00,280
[♪ "Red Hot" playing]
787
00:35:00,360 --> 00:35:01,720
♪ My girl is red hot ♪
788
00:35:02,120 --> 00:35:04,240
-♪ My girl is red hot ♪
-♪ Ooh! ♪
789
00:35:04,320 --> 00:35:06,240
♪ My girl is red hot ♪
790
00:35:06,600 --> 00:35:08,200
♪ My girl is red hot ♪
791
00:35:08,480 --> 00:35:09,640
♪ She ain't got no money ♪
792
00:35:09,720 --> 00:35:11,080
♪ But, man, she's really got a lot ♪
793
00:35:11,160 --> 00:35:13,240
-♪ My girl is red hot ♪
-♪ Hey! ♪
794
00:35:13,360 --> 00:35:15,280
♪ I've got a girl that's six foot four ♪
795
00:35:15,360 --> 00:35:17,280
♪ Sleeps in the kitchen
with her feet out the door ♪
796
00:35:17,720 --> 00:35:19,520
♪ My girl is red hot ♪
797
00:35:19,960 --> 00:35:21,960
♪ My girl is red hot... ♪
798
00:35:22,880 --> 00:35:24,960
[George] I was 17 when we first went out
799
00:35:25,040 --> 00:35:28,920
and they had this
kind of situation in Germany
800
00:35:29,000 --> 00:35:31,080
which I'd never come across before...
801
00:35:31,200 --> 00:35:33,120
-[♪ music concludes]
-...which was a curfew, um,
802
00:35:33,200 --> 00:35:36,000
and after ten o'clock at night,
803
00:35:36,080 --> 00:35:38,760
anybody who was under 18 had to get out.
804
00:35:38,840 --> 00:35:41,240
And I was only 17,
I was sitting in the band
805
00:35:41,320 --> 00:35:43,560
and I kept-- started getting worried.
806
00:35:44,280 --> 00:35:46,240
And eventually somebody found out
807
00:35:46,320 --> 00:35:49,880
we didn't have any work permits or visas,
808
00:35:50,120 --> 00:35:51,920
so they started closing in on us.
809
00:35:52,000 --> 00:35:53,920
And the police came one day,
810
00:35:54,000 --> 00:35:56,560
and then they just booted me out.
811
00:35:57,200 --> 00:35:59,760
So the second time
we went back when I was 18,
812
00:35:59,840 --> 00:36:02,840
this fella came into the club
who was-- they said,
813
00:36:02,920 --> 00:36:06,520
"Oh, he's this famous
record producer and musician,"
814
00:36:06,600 --> 00:36:08,000
and he was called Bert Kaempfert.
815
00:36:08,080 --> 00:36:09,440
He came in the club,
816
00:36:09,840 --> 00:36:11,600
and I remember this buzz went around,
817
00:36:11,680 --> 00:36:13,240
"We've gotta be good. Play really good.
818
00:36:13,320 --> 00:36:15,040
We may get a chance to record,"
819
00:36:15,720 --> 00:36:18,040
which we did, and we got
all pleased with ourselves.
820
00:36:18,120 --> 00:36:19,400
And then we got to the studio
821
00:36:20,320 --> 00:36:23,040
and he just wanted us to,
like, back up Tony Sheridan.
822
00:36:23,120 --> 00:36:24,680
I remember feeling a little depressed.
823
00:36:24,760 --> 00:36:27,160
But we did, nevertheless,
get to do that "My Bonnie".
824
00:36:27,240 --> 00:36:29,360
[♪ "My Bonnie" playing]
825
00:36:29,640 --> 00:36:33,480
♪ My Bonnie lies over the ocean ♪
826
00:36:35,240 --> 00:36:39,480
♪ My Bonnie lies over the sea ♪
827
00:36:39,560 --> 00:36:44,560
♪ Well, my Bonnie lies over the ocean ♪
828
00:36:45,600 --> 00:36:50,400
♪ Yeah, bring back my Bonnie to me... ♪
829
00:36:51,680 --> 00:36:54,960
[Paul] While we were out there,
we started to see other groups,
830
00:36:55,040 --> 00:36:57,200
and stuff, and started to get
a little bit dissatisfied
831
00:36:57,280 --> 00:36:58,480
with Pete. Not massively,
832
00:36:58,560 --> 00:37:00,120
but just a little bit of dissatisfaction
833
00:37:00,200 --> 00:37:01,400
-started to creep in.
-[♪ music concludes]
834
00:37:01,520 --> 00:37:03,760
[George] I seem to remember him, you know,
835
00:37:03,840 --> 00:37:05,640
starting to not turn up for gigs,
836
00:37:05,720 --> 00:37:07,600
and then we kept getting Ringo in.
837
00:37:07,680 --> 00:37:09,120
Every time Ringo sat in with the band,
838
00:37:09,240 --> 00:37:10,800
it just seemed like this was it.
839
00:37:10,880 --> 00:37:12,200
[Ringo] And this happened
three or four times,
840
00:37:12,280 --> 00:37:13,280
and then that was the end.
841
00:37:13,360 --> 00:37:16,160
You know, we were just pals,
and we'd have a drink after it,
842
00:37:16,240 --> 00:37:19,160
and then I'd be back with Rory.
843
00:37:19,240 --> 00:37:20,560
[Paul] And round about this time,
844
00:37:20,640 --> 00:37:22,880
Stuart and I got a little bit fraught too.
845
00:37:22,960 --> 00:37:25,920
See, 'cause I... I claim
that what I was trying to do
846
00:37:26,000 --> 00:37:28,240
was make sure we were musically very good,
847
00:37:28,400 --> 00:37:30,760
but this did create a couple of rifts,
848
00:37:30,840 --> 00:37:33,760
and I can see now how I could
have been more sensitive to it.
849
00:37:33,920 --> 00:37:36,160
But who's sensitive at that age?
Certainly not me.
850
00:37:37,000 --> 00:37:38,640
[George] Well, when we first met him,
851
00:37:38,720 --> 00:37:42,920
he couldn't play at all, uh,
and he learned a few tunes.
852
00:37:43,000 --> 00:37:44,680
Occasionally, it was a bit embarrassing.
853
00:37:44,760 --> 00:37:48,160
He didn't-- You know, if it had
a lot of changes to it he was...
854
00:37:49,040 --> 00:37:51,400
But he knew that, too.
That's why, you know,
855
00:37:51,480 --> 00:37:54,600
he was never really that at ease
being in the band,
856
00:37:54,680 --> 00:37:56,920
and that's why he decided
to go back to art college.
857
00:37:57,600 --> 00:38:00,600
At that point,
Paul was still playing a guitar,
858
00:38:01,400 --> 00:38:02,800
and I remember saying,
859
00:38:02,880 --> 00:38:05,000
"Well, one of us
is going to be the bass player."
860
00:38:05,320 --> 00:38:06,640
I remember saying, "And it's not me.
861
00:38:06,720 --> 00:38:08,040
I'm not doing it." And John said,
862
00:38:08,120 --> 00:38:09,280
"I'm not doing it either."
863
00:38:09,640 --> 00:38:10,800
[Paul] I got lumbered with it, really.
864
00:38:10,880 --> 00:38:12,160
I didn't wanna be the bass player,
865
00:38:12,240 --> 00:38:14,520
but there was no one left.
So I went and got--
866
00:38:14,600 --> 00:38:16,480
I went, uh... Before we left Hamburg,
867
00:38:16,560 --> 00:38:17,800
I went and got, um,
868
00:38:17,880 --> 00:38:21,200
my Höfner bass down in the city center.
869
00:38:21,280 --> 00:38:23,240
[George] He went for it.
870
00:38:23,360 --> 00:38:24,400
[♪ "I'm Down" playing]
871
00:38:24,480 --> 00:38:26,240
♪ You tell lies thinking I can't see ♪
872
00:38:26,320 --> 00:38:28,720
♪ You can't cry
'cause your laughing at me ♪
873
00:38:28,800 --> 00:38:31,480
-♪ I'm down ♪
-♪ I'm really down ♪
874
00:38:31,560 --> 00:38:34,600
-♪ I'm down ♪
-♪ Down on the ground ♪
875
00:38:34,680 --> 00:38:37,920
-♪ I'm down ♪
-♪ I'm really down ♪
876
00:38:38,000 --> 00:38:40,880
♪ How can you laugh
when you know I'm down? ♪
877
00:38:40,960 --> 00:38:43,480
-♪ How can you laugh ♪
-♪ When you know I'm down? ♪
878
00:38:43,560 --> 00:38:45,520
-[♪ music concludes]
-And then we went back to Liverpool
879
00:38:45,720 --> 00:38:47,400
and got quite a few bookings,
you know, they all thought
880
00:38:47,480 --> 00:38:48,640
we were German.
881
00:38:48,720 --> 00:38:50,120
You know, we were billed
as "from Hamburg",
882
00:38:50,240 --> 00:38:51,760
and they were all saying,
"You speak good English..."
883
00:38:51,840 --> 00:38:53,440
[chuckles] ...you know, things like that.
884
00:38:53,520 --> 00:38:54,520
So we went back to Germany,
885
00:38:54,600 --> 00:38:56,200
and we had a bit more
money the second time,
886
00:38:56,280 --> 00:38:57,360
so we bought leather pants
887
00:38:57,560 --> 00:38:59,360
and we looked like four Gene Vincents,
888
00:38:59,680 --> 00:39:01,400
only a bit younger, I think.
889
00:39:02,160 --> 00:39:03,760
Anyway, we got back to Liverpool,
890
00:39:03,840 --> 00:39:05,400
and all the groups there were doing
891
00:39:05,840 --> 00:39:09,080
the sort of Shadows type of stuff.
892
00:39:09,200 --> 00:39:11,280
[♪ "F.B.I." playing]
893
00:39:15,600 --> 00:39:18,280
[George] That's why, you know,
we became popular
894
00:39:18,360 --> 00:39:19,800
because they couldn't believe it.
895
00:39:19,920 --> 00:39:22,040
There was all these
♪ Dum, de-dum, de-dum, de-dum ♪
896
00:39:22,120 --> 00:39:23,840
♪ de-diddlee-dum... ♪ [chuckles]
897
00:39:23,920 --> 00:39:28,000
...and then suddenly we come on,
wild men in leather suits.
898
00:39:30,960 --> 00:39:32,720
[Neil Aspinall]
I think it was Pete Best...
899
00:39:32,800 --> 00:39:34,600
-[♪ music concludes]
-...said to them that, uh, you know,
900
00:39:34,680 --> 00:39:36,680
I would, uh, drive them, uh,
901
00:39:37,440 --> 00:39:39,920
to the gigs and stuff. And, uh, I got--
902
00:39:40,000 --> 00:39:43,640
I think I got a pound a night,
or a pound a gig, you know.
903
00:39:43,840 --> 00:39:45,520
Five bob off each of 'em.
904
00:39:46,080 --> 00:39:48,600
You know, they needed transport
to get them to the Cavern
905
00:39:48,680 --> 00:39:51,040
and wherever, 'cause they were
using cabs at the time.
906
00:39:51,480 --> 00:39:53,280
[John] I mean, on the street in Liverpool,
907
00:39:53,440 --> 00:39:55,560
and unless you were in the suburbs,
908
00:39:56,480 --> 00:39:59,120
yeah, I mean, you had to walk
close to the wall, you know?
909
00:39:59,200 --> 00:40:00,440
And to get to the Cavern, you know,
910
00:40:00,520 --> 00:40:02,200
for those of you who remember all that,
911
00:40:02,480 --> 00:40:04,720
it was no easy matter,
even at lunchtime sometimes.
912
00:40:04,800 --> 00:40:06,440
I mean, it's a tense place.
913
00:40:06,520 --> 00:40:09,680
[George] We played the Cavern
before we ever went to Hamburg,
914
00:40:09,760 --> 00:40:10,920
I believe,
915
00:40:11,600 --> 00:40:15,160
in the days when it was a jazz
and folk club.
916
00:40:16,120 --> 00:40:17,960
I seem to remember playing there
917
00:40:18,040 --> 00:40:21,800
and them handing us
these notes saying,
918
00:40:21,880 --> 00:40:25,760
"Stop playing this music.
This is a jazz club."
919
00:40:26,360 --> 00:40:27,960
[Paul] Had a couple of requests
to do a tune
920
00:40:28,040 --> 00:40:29,400
called "Kansas City",
921
00:40:29,480 --> 00:40:31,000
so we'd like to do "Kansas City".
922
00:40:31,480 --> 00:40:33,040
One, two, three...
923
00:40:33,120 --> 00:40:34,880
[♪ "Kansas City" playing]
924
00:40:36,280 --> 00:40:38,160
[Paul] So anyway,
we did well at the Cavern
925
00:40:38,600 --> 00:40:40,880
and, uh, attracted some big audiences.
926
00:40:41,440 --> 00:40:42,800
And the word got around.
927
00:40:42,880 --> 00:40:44,960
What had happened was a kid had gone
928
00:40:45,040 --> 00:40:47,240
into Brian Epstein's record store
929
00:40:47,320 --> 00:40:48,960
and had asked for "My Bonnie".
930
00:40:49,120 --> 00:40:50,280
[George] And then he found out
931
00:40:50,400 --> 00:40:53,480
that the Beatles were supposed
to be a Liverpool band
932
00:40:53,560 --> 00:40:54,800
and they were playing in the Cavern,
933
00:40:54,880 --> 00:40:57,480
so he went down the street
and... and checked us out.
934
00:40:57,560 --> 00:41:01,600
Because I remember Bob Wooler,
the disc jockey, saying,
935
00:41:02,520 --> 00:41:04,120
"And we have a Mr. Epstein,
936
00:41:04,200 --> 00:41:06,160
who owns NEMS Enterprises, in here."
937
00:41:06,240 --> 00:41:08,520
And everybody was going,
"Ooh! Wow!" you know.
938
00:41:08,600 --> 00:41:10,600
Big, big deal.
939
00:41:10,960 --> 00:41:13,040
♪ ...one more time, whoa, whoa ♪
940
00:41:13,400 --> 00:41:15,800
♪ It's just a-one, two, three, four... ♪
941
00:41:16,160 --> 00:41:18,840
[Brian Epstein] This was quite
a new world really for me.
942
00:41:19,080 --> 00:41:22,880
Uh, I was amazed by this sort of dark,
943
00:41:22,960 --> 00:41:25,160
smoky, dank atmosphere
944
00:41:25,240 --> 00:41:27,920
with this beat music playing away.
945
00:41:28,080 --> 00:41:33,440
And, um, the Beatles
were then just four lads
946
00:41:33,520 --> 00:41:36,760
-on that rather dimly-lit stage...
-[♪ music concludes]
947
00:41:36,840 --> 00:41:41,760
...uh, somewhat ill-clad,
and their presentation was,
948
00:41:41,840 --> 00:41:43,320
well, left a little to be desired
949
00:41:43,400 --> 00:41:44,600
as far as I was concerned,
950
00:41:44,680 --> 00:41:46,560
'cause I'd been interested in the theatre
951
00:41:46,640 --> 00:41:48,520
and acting for a long time.
952
00:41:49,080 --> 00:41:53,760
But amongst all that,
something tremendous came over,
953
00:41:54,080 --> 00:41:55,720
and, uh, I was immediately struck
954
00:41:55,800 --> 00:41:58,560
by their... their...
their music, their beat
955
00:41:58,680 --> 00:42:01,320
and, uh, their sense of humor,
actually, on stage.
956
00:42:01,480 --> 00:42:03,080
And even afterwards, when I met them,
957
00:42:03,160 --> 00:42:05,480
I was struck again
by their personal charm.
958
00:42:06,080 --> 00:42:09,640
And, uh, it was there
that really it all started.
959
00:42:09,720 --> 00:42:12,760
Brian had this shop and,
you know, it was good.
960
00:42:12,840 --> 00:42:14,280
We used to get-- pick a couple of records,
961
00:42:14,360 --> 00:42:16,480
and he had this big Zephyr Zodiac,
962
00:42:16,560 --> 00:42:17,720
and he wanted to manage us,
963
00:42:17,800 --> 00:42:19,960
and we weren't going anywhere anyway, so,
964
00:42:20,560 --> 00:42:22,440
you know, we said,
"Yes, he might as well."
965
00:42:22,520 --> 00:42:23,960
Straight away he got us some jobs,
966
00:42:24,040 --> 00:42:25,440
got us a bit more money
967
00:42:25,960 --> 00:42:29,360
and, um, then started
getting us radio shows,
968
00:42:29,440 --> 00:42:32,720
and things like that. And then,
you know, as we go ahead,
969
00:42:32,800 --> 00:42:34,640
we got into our suits.
970
00:42:35,040 --> 00:42:37,440
You know, he talked
us out of the leather suits.
971
00:42:37,800 --> 00:42:39,800
[Paul] It was a bit
sort of old hat anyway,
972
00:42:40,000 --> 00:42:41,640
all wearing leather gear,
973
00:42:42,080 --> 00:42:44,960
and we decided we didn't
wanna look sort of ridiculous
974
00:42:45,080 --> 00:42:47,760
just going on, because y--
more often than not,
975
00:42:47,840 --> 00:42:49,800
sort of people, too many people'd laugh.
976
00:42:50,360 --> 00:42:51,720
It was just stupid. And we didn't wanna
977
00:42:52,000 --> 00:42:53,840
sort of appear as a gang of idiots.
978
00:42:54,000 --> 00:42:57,520
And Brian suggested that we just
sort of wore ordinary suits.
979
00:42:57,600 --> 00:42:58,800
[John] I mean, we cleaned up a bit.
980
00:42:58,880 --> 00:43:01,560
Brian cleaned us up a bit
when he discovered us...
981
00:43:01,720 --> 00:43:03,440
or we discovered him, as Paul says.
982
00:43:03,720 --> 00:43:05,600
[Paul] It was later
put around that, uh,
983
00:43:05,680 --> 00:43:08,440
I'd betrayed our heavy leather image
984
00:43:08,520 --> 00:43:11,520
that we had at the time,
and I wanted us to get suits.
985
00:43:11,880 --> 00:43:15,680
But I seem to recall that we,
uh, all went quite happily.
986
00:43:15,760 --> 00:43:18,960
I didn't have to drag anyone
there, uh, to the tailors.
987
00:43:19,040 --> 00:43:20,440
They all went quite happily.
988
00:43:20,680 --> 00:43:22,240
[John] You know,
Brian put us into suits,
989
00:43:22,320 --> 00:43:24,200
and all that,
and we made it very, very big.
990
00:43:24,280 --> 00:43:25,560
But we sold out, you know.
991
00:43:25,680 --> 00:43:28,520
[George] So, you know,
we gladly switched into suits,
992
00:43:28,600 --> 00:43:29,600
you know, if it was...
993
00:43:29,680 --> 00:43:31,280
if we were gonna get
some more money,
994
00:43:32,040 --> 00:43:33,480
get some more gigs.
995
00:43:33,560 --> 00:43:36,120
[John] Brian was a...
a beautiful guy, Brian Epstein,
996
00:43:36,200 --> 00:43:39,880
and he was, uh,
an intuitive, theatrical guy,
997
00:43:39,960 --> 00:43:42,240
and he knew we had something.
He presented us well.
998
00:43:42,600 --> 00:43:45,280
So Brian contributed as much
as us in the early days,
999
00:43:45,360 --> 00:43:47,920
although we were the talent
and he was the hustler.
1000
00:43:48,360 --> 00:43:49,360
[♪ "Three Cool Cats" playing]
1001
00:43:49,440 --> 00:43:51,400
[Neil Aspinall] Yeah, I remember
we had to drive down to London
1002
00:43:51,480 --> 00:43:54,280
on, uh, New Year's Eve,
1003
00:43:54,360 --> 00:43:57,760
because we did, uh, a session for Decca.
1004
00:43:58,280 --> 00:43:59,960
You know, an audition for Decca.
1005
00:44:00,040 --> 00:44:02,080
♪ Well, up popped that first cool cat ♪
1006
00:44:02,160 --> 00:44:03,480
♪ He said, "Man, look at that! ♪
1007
00:44:03,560 --> 00:44:06,120
♪ Man, do you see what I see?" ♪
1008
00:44:06,320 --> 00:44:08,680
♪ Well, now, I want that middle chick ♪
1009
00:44:08,760 --> 00:44:10,320
♪ I want that little chick ♪
1010
00:44:10,400 --> 00:44:12,680
♪ Hey, man, save one chick for me! ♪
1011
00:44:12,760 --> 00:44:16,080
-♪ Yeah! ♪
-♪ Three cool chicks ♪
1012
00:44:17,240 --> 00:44:18,880
♪ Three cool chicks ♪
1013
00:44:18,960 --> 00:44:20,360
♪ Ah-hah! ♪
1014
00:44:20,440 --> 00:44:21,840
-[♪ "Bésame Mucho" playing]
-♪ Cha-cha boom! ♪
1015
00:44:21,920 --> 00:44:25,680
♪ Bésame, bésame mucho... ♪
1016
00:44:26,280 --> 00:44:28,240
[John] And when you hear
the tape, it's pretty good.
1017
00:44:28,960 --> 00:44:30,520
You know, it's not great, but it's good.
1018
00:44:30,720 --> 00:44:32,400
And it's certainly good for then.
1019
00:44:32,520 --> 00:44:35,760
[George] Dick Rowe,
the man who didn't sign us,
1020
00:44:35,840 --> 00:44:37,560
the head of Decca, he said,
1021
00:44:37,720 --> 00:44:40,760
"Guitar groups are on the way
out, Mr. Epstein."
1022
00:44:42,360 --> 00:44:43,720
♪ Cha-cha boom! ♪
1023
00:44:43,960 --> 00:44:50,160
♪ Bésame, bésame mucho ♪
1024
00:44:51,360 --> 00:44:53,120
♪ Love me forever ♪
1025
00:44:53,200 --> 00:44:56,520
♪ And say that you'll always be mine ♪
1026
00:44:57,120 --> 00:44:58,480
-♪ Cha-cha boom! ♪
-[♪ music concludes]
1027
00:44:58,560 --> 00:45:01,440
So Brian then had this tape
which he hawked around.
1028
00:45:01,520 --> 00:45:03,760
[John] If he hadn't gone
round London on foot
1029
00:45:03,840 --> 00:45:05,240
with the tapes under his arm
1030
00:45:05,400 --> 00:45:07,600
and gone from place
to place, to place to place,
1031
00:45:07,680 --> 00:45:09,280
and finally to George Martin...
1032
00:45:10,520 --> 00:45:11,640
we would never have made it,
1033
00:45:11,720 --> 00:45:13,800
because we didn't have the push
to do it on our own.
1034
00:45:14,800 --> 00:45:19,760
And I think it was somebody
in the HMV shop on Oxford Street
1035
00:45:20,680 --> 00:45:23,600
knew George Martin, and told Brian to go
1036
00:45:23,680 --> 00:45:25,160
and play the tape to George Martin,
1037
00:45:25,240 --> 00:45:27,840
and then he gave us
the audition at, um, Abbey Road.
1038
00:45:27,920 --> 00:45:29,160
[♪ "Love Me Do" playing]
1039
00:45:29,240 --> 00:45:31,000
[George Martin] And, uh,
they came down here
1040
00:45:31,080 --> 00:45:33,760
and I spent some time with them,
1041
00:45:34,000 --> 00:45:36,800
went through all their stuff,
and tried to make up my mind
1042
00:45:36,880 --> 00:45:38,600
which was the Cliff Richard
of the group, you know.
1043
00:45:38,680 --> 00:45:41,080
Because one gets-- one was focused,
1044
00:45:41,160 --> 00:45:43,840
in those days, on a... a lead
singer and a backing group.
1045
00:45:43,960 --> 00:45:46,480
And, uh, suddenly
realized at the end of it all
1046
00:45:46,560 --> 00:45:47,720
that it was nonsense.
1047
00:45:47,800 --> 00:45:50,640
It was a group
that I had to take as it was.
1048
00:45:51,000 --> 00:45:53,400
[John] George had done little of--
1049
00:45:53,480 --> 00:45:55,040
no rock and roll when we met him,
1050
00:45:55,120 --> 00:45:56,400
and we'd never been in the studio,
1051
00:45:56,480 --> 00:45:57,920
so we did a lot of learning together.
1052
00:45:58,080 --> 00:46:00,400
He had a very great
1053
00:46:00,480 --> 00:46:03,080
musical knowledge and background.
1054
00:46:03,440 --> 00:46:04,840
[George Martin] Even though they had, uh,
1055
00:46:04,920 --> 00:46:06,560
nothing really behind them,
1056
00:46:06,640 --> 00:46:08,760
they were still fairly
irreverent even in those days,
1057
00:46:08,880 --> 00:46:10,200
which I... which I loved, you know.
1058
00:46:10,400 --> 00:46:13,040
I... I... I like a little bit
of rebel in people,
1059
00:46:13,320 --> 00:46:14,920
and I liked their sense of humor.
1060
00:46:15,280 --> 00:46:17,680
After all, that was my main
stock-in-trade, too.
1061
00:46:17,840 --> 00:46:20,000
And I guess they quite liked
what I'd been doing
1062
00:46:20,080 --> 00:46:21,920
with Peter Sellers and the Goons,
1063
00:46:22,000 --> 00:46:24,560
and that kind of thing.
Um, no, I... I don't...
1064
00:46:24,680 --> 00:46:26,360
They... They had tremendous charisma.
1065
00:46:26,800 --> 00:46:29,640
I knew that that alone would sell them.
1066
00:46:30,360 --> 00:46:33,160
[Paul] And we did a reasonable
audition, not very good.
1067
00:46:33,240 --> 00:46:35,520
But the thing he didn't like
was our drummer.
1068
00:46:39,960 --> 00:46:42,640
We really started to think we, um,
1069
00:46:43,240 --> 00:46:45,880
needed the great drummer in Liverpool.
1070
00:46:47,440 --> 00:46:50,480
[Ringo] Uh, it was a Wednesday,
and Brian called.
1071
00:46:50,560 --> 00:46:52,520
-"Would you join the band?"
-[♪ music concludes]
1072
00:46:53,080 --> 00:46:54,840
[Ringo] And I said,
"What do you mean?" He said,
1073
00:46:54,920 --> 00:46:57,160
"No, really join the band."
1074
00:46:57,840 --> 00:47:00,720
And I said,
"Sure. Yeah. When?" And he said,
1075
00:47:00,800 --> 00:47:03,480
"Now!" Well, I said, "No, I can't do that
1076
00:47:04,160 --> 00:47:06,440
'cause we've got
these other four guys here.
1077
00:47:06,520 --> 00:47:07,960
There's... We've got a gig for months
1078
00:47:08,040 --> 00:47:10,560
and, you know, I can't just
pull out now and it all end."
1079
00:47:10,720 --> 00:47:12,920
So I said, "I'll join you Saturday,"
1080
00:47:13,760 --> 00:47:15,200
because we used to have Saturday off,
1081
00:47:15,280 --> 00:47:17,160
'cause that's when they used
to change the campers.
1082
00:47:18,080 --> 00:47:20,760
And so I gave Rory
Thursday, Friday, Saturday
1083
00:47:20,840 --> 00:47:22,480
to bring someone in, 'cause...
1084
00:47:22,560 --> 00:47:24,560
to open again on Sunday,
which I thought was giving him
1085
00:47:24,640 --> 00:47:26,240
a hell of a lot of time. [laughs]
1086
00:47:26,640 --> 00:47:28,040
And... uh, and that was it.
1087
00:47:28,560 --> 00:47:31,800
Historically, it may look like
we did something nasty to Pete,
1088
00:47:31,880 --> 00:47:33,360
and it may... may have been
1089
00:47:33,440 --> 00:47:35,160
that we could have done it better.
1090
00:47:35,240 --> 00:47:38,600
But the thing was, as history also shows,
1091
00:47:38,680 --> 00:47:41,400
Ringo was the... the member of the band.
1092
00:47:41,480 --> 00:47:45,280
It's just that he didn't enter
the s-- the film
1093
00:47:45,360 --> 00:47:48,360
until that particular scene, you know?
1094
00:47:49,040 --> 00:47:50,200
[John] I met Paul and said,
1095
00:47:50,280 --> 00:47:52,080
"Do you wanna join me band?" you know.
1096
00:47:52,640 --> 00:47:55,240
And then George joined.
And then Ringo joined.
1097
00:47:55,320 --> 00:47:58,600
We were just a band who made
it very, very big, that's all.
1098
00:47:59,520 --> 00:48:01,920
[announcer] At this midday
session at the Cavern,
1099
00:48:02,080 --> 00:48:04,600
we proudly present The Beatles.
1100
00:48:04,680 --> 00:48:06,040
[crowd cheering]
1101
00:48:06,200 --> 00:48:08,360
[♪ "Some Other Guy" playing]
1102
00:48:27,440 --> 00:48:29,320
♪ Some other guy now ♪
1103
00:48:29,400 --> 00:48:32,600
♪ Has taken my love
away from me, oh now ♪
1104
00:48:32,680 --> 00:48:34,120
♪ Some other guy now ♪
1105
00:48:34,240 --> 00:48:37,440
♪ Has taken away
my sweet desire, oh now ♪
1106
00:48:37,520 --> 00:48:39,240
♪ Some other guy now ♪
1107
00:48:39,320 --> 00:48:42,240
♪ I just don't wanna hold
my head, oh now ♪
1108
00:48:42,320 --> 00:48:43,800
♪ I'm the lonely one ♪
1109
00:48:44,040 --> 00:48:47,160
♪ As lonely as I can feel, all right ♪
1110
00:48:47,280 --> 00:48:48,520
♪ Some other guy ♪
1111
00:48:49,040 --> 00:48:52,120
♪ You're steppin' on my honey
like a yellow dog, oh now ♪
1112
00:48:52,200 --> 00:48:53,840
♪ Some other guy now ♪
1113
00:48:53,920 --> 00:48:56,920
♪ Has taken my love
just like a hog, oh now ♪
1114
00:48:57,120 --> 00:48:58,680
♪ Some other guy now ♪
1115
00:48:58,760 --> 00:49:01,960
♪ Has taken my love
away from me, oh now ♪
1116
00:49:02,040 --> 00:49:03,680
♪ I'm the lonely one ♪
1117
00:49:03,800 --> 00:49:07,160
♪ As lonely as I can feel, all right ♪
1118
00:49:07,800 --> 00:49:09,320
♪ Oh, oh, oh, oh ♪
1119
00:49:26,480 --> 00:49:28,040
♪ Some other guy ♪
1120
00:49:28,200 --> 00:49:31,360
♪ You're making me
very, very mad, oh now ♪
1121
00:49:31,440 --> 00:49:32,960
♪ Some other guy now ♪
1122
00:49:33,200 --> 00:49:36,240
♪ You've taken the padlock
off my pad, oh now ♪
1123
00:49:36,440 --> 00:49:37,960
♪ Some other guy now ♪
1124
00:49:38,040 --> 00:49:41,240
♪ You took the first girl
I've ever had, oh now ♪
1125
00:49:41,320 --> 00:49:43,040
♪ I'm the lonely one ♪
1126
00:49:43,120 --> 00:49:46,640
♪ As lonely as I can feel, all right now ♪
1127
00:49:47,040 --> 00:49:48,360
♪ Oh, oh, oh, oh ♪
1128
00:49:49,440 --> 00:49:52,000
♪ I'm a-talkin' to you, right now ♪
1129
00:49:57,800 --> 00:50:01,920
[crowd cheering]
1130
00:50:02,040 --> 00:50:04,000
-[♪ music concludes]
-[audience member] We want Pete!
1131
00:50:05,160 --> 00:50:06,160
We played the Cavern.
1132
00:50:06,240 --> 00:50:09,000
There was a lot of fighting and shouting.
1133
00:50:09,080 --> 00:50:11,640
Half of them hated me,
half of them loved me.
1134
00:50:11,720 --> 00:50:13,880
There was a few people there
who were shouting,
1135
00:50:14,600 --> 00:50:17,040
"Ringo never! Pete Best forever!"
1136
00:50:17,120 --> 00:50:19,400
And after about half an hour,
I said, "Oh, bugger off"
1137
00:50:19,480 --> 00:50:22,840
or something and,
uh, stepped out of this...
1138
00:50:23,400 --> 00:50:26,360
you know, the Cavern had this...
it was three tunnels,
1139
00:50:27,120 --> 00:50:29,760
and we stepped out
of what was the dressing room
1140
00:50:29,840 --> 00:50:32,280
into this dark tunnel,
and some guy just, like,
1141
00:50:32,360 --> 00:50:34,280
butted me right in the eye.
1142
00:50:35,160 --> 00:50:38,000
That was a bad day.
And then I walked under a bus.
1143
00:50:38,280 --> 00:50:40,160
Got hit by a double-deck bus.
1144
00:50:40,800 --> 00:50:42,320
[Ringo] George fought for me.
1145
00:50:43,520 --> 00:50:45,400
[John] What I think
about the Beatles is that
1146
00:50:45,480 --> 00:50:48,000
even if there'd been Paul
and John and two other people,
1147
00:50:48,080 --> 00:50:49,520
we'd never have been The Beatles.
1148
00:50:49,600 --> 00:50:51,520
It had to take that combination
of Paul, John,
1149
00:50:51,600 --> 00:50:54,280
George and Ringo to make The Beatles.
1150
00:50:54,600 --> 00:50:56,480
[George Martin] When Ringo
came to the session
1151
00:50:56,560 --> 00:50:57,760
for the first time,
1152
00:50:57,920 --> 00:50:59,920
nobody told me that he was coming.
1153
00:51:00,240 --> 00:51:02,400
Ringo turns up expecting to play,
1154
00:51:02,840 --> 00:51:04,720
and I said, "Well, you know,
I've been bitten once,
1155
00:51:04,800 --> 00:51:07,000
I'm not going to have that.
I don't even know who you are."
1156
00:51:07,080 --> 00:51:09,600
[Paul] He'd originally told us
he wanted another drummer
1157
00:51:09,680 --> 00:51:13,000
besides Pete Best.
We'd gone away. We'd changed.
1158
00:51:13,080 --> 00:51:15,640
We brought the new drummer,
the best in Liverpool,
1159
00:51:15,720 --> 00:51:17,360
and now he didn't like the new drummer!
1160
00:51:17,680 --> 00:51:19,280
I'd already booked Andy White,
1161
00:51:19,360 --> 00:51:21,400
and I told Brian Epstein
I was going to do this.
1162
00:51:21,480 --> 00:51:23,000
I said, "I just want the three others,
1163
00:51:23,080 --> 00:51:24,480
and that's fine.
We're going to have Andy White,
1164
00:51:24,560 --> 00:51:25,720
thank you very much."
1165
00:51:25,840 --> 00:51:27,800
And I then I had to find
a hit song for them.
1166
00:51:27,880 --> 00:51:30,360
The best I could find from them
was "Love Me Do".
1167
00:51:30,880 --> 00:51:34,800
[Ringo] No, I was devastated!
I came down, ready to roll, and,
1168
00:51:35,560 --> 00:51:37,960
"We've got Andy White,
the professional drummer."
1169
00:51:39,840 --> 00:51:42,840
But he's apologized several times since,
1170
00:51:42,920 --> 00:51:44,200
has old George Martin.
1171
00:51:44,600 --> 00:51:46,040
But it was... it was devastating.
1172
00:51:46,120 --> 00:51:49,760
And then we did that, which...
which Andy plays on,
1173
00:51:49,840 --> 00:51:53,440
and then we did the album,
which I play on.
1174
00:51:54,400 --> 00:51:58,240
You know, so Andy
wasn't doing anything so great.
1175
00:51:59,240 --> 00:52:01,160
Well, he wasn't doing anything
so great I couldn't copy
1176
00:52:01,240 --> 00:52:02,800
when we did the album.
1177
00:52:02,880 --> 00:52:05,000
Oh, Ringo, to this day,
bears those scars.
1178
00:52:05,080 --> 00:52:07,360
He says, you know, "You didn't
let me play, did you?"
1179
00:52:09,120 --> 00:52:11,880
[♪ "Love Me Do" playing]
1180
00:52:11,960 --> 00:52:13,800
[John] Well, "Love Me Do"
was one of the first ones
1181
00:52:13,880 --> 00:52:16,760
we wrote ourselves, you know,
and Paul started writing that
1182
00:52:16,840 --> 00:52:18,440
when he must have been about 15.
1183
00:52:18,520 --> 00:52:21,520
It was the first one we'd sort
of dared do of our own.
1184
00:52:22,440 --> 00:52:24,520
♪ Love, love me do ♪
1185
00:52:25,360 --> 00:52:27,880
♪ You know I love you ♪
1186
00:52:28,680 --> 00:52:31,280
♪ I'll always be true ♪
1187
00:52:32,080 --> 00:52:36,400
♪ So please ♪
1188
00:52:36,600 --> 00:52:39,040
♪ Love me do ♪
1189
00:52:39,240 --> 00:52:41,480
Actually,
their first record did very well.
1190
00:52:41,560 --> 00:52:44,040
It sold 100,000 copies.
That was "Love Me Do".
1191
00:52:44,120 --> 00:52:47,080
The best thing was, it came
to the charts in two days.
1192
00:52:47,520 --> 00:52:48,800
And everybody thought it was a fiddle
1193
00:52:48,880 --> 00:52:52,880
because our manager's stores
send in these,
1194
00:52:52,960 --> 00:52:55,080
-what is it, record things?
-[George] Returns.
1195
00:52:55,160 --> 00:52:56,160
Returns.
1196
00:52:56,720 --> 00:52:58,040
And everybody down south
thought,
1197
00:52:58,120 --> 00:53:00,760
"Ah, he's buying them himself,
1198
00:53:00,840 --> 00:53:02,560
or he's just fiddling
the charts," you know.
1199
00:53:02,640 --> 00:53:03,680
But he wasn't.
1200
00:53:03,880 --> 00:53:05,240
[Ringo] It was bought by the kids.
1201
00:53:05,320 --> 00:53:06,920
I mean, we had a big following.
1202
00:53:07,480 --> 00:53:09,240
And who'd had a record? It was--
1203
00:53:09,320 --> 00:53:11,320
You know, Arthur Askey
was the last one, I think,
1204
00:53:11,560 --> 00:53:12,600
out of Liverpool.
1205
00:53:12,720 --> 00:53:16,160
♪ Someone to love ♪
1206
00:53:16,240 --> 00:53:18,720
♪ Someone like you ♪
1207
00:53:19,520 --> 00:53:21,680
♪ Love, love me do ♪
1208
00:53:22,560 --> 00:53:25,080
♪ You know I love you ♪
1209
00:53:25,920 --> 00:53:28,400
♪ I'll always be true ♪
1210
00:53:29,240 --> 00:53:35,960
♪ So please love me do ♪
1211
00:53:36,800 --> 00:53:39,840
♪ Whoa, oh, love me do ♪
1212
00:54:01,560 --> 00:54:03,880
♪ Love, love me do ♪
1213
00:54:04,520 --> 00:54:07,040
♪ You know I love you ♪
1214
00:54:07,800 --> 00:54:10,320
♪ I'll always be true ♪
1215
00:54:11,160 --> 00:54:15,560
♪ So please ♪
1216
00:54:15,880 --> 00:54:18,120
♪ Love me do ♪
1217
00:54:18,800 --> 00:54:21,840
♪ Whoa, oh, love me do ♪
1218
00:54:22,120 --> 00:54:25,160
♪ Yeah, love me do ♪
1219
00:54:25,640 --> 00:54:30,040
♪ Oh, oh, love me do... ♪
1220
00:54:30,160 --> 00:54:32,760
[George] We made the record
of "Love Me Do".
1221
00:54:32,840 --> 00:54:34,800
-[♪ music concludes]
-It went to No. 17,
1222
00:54:34,880 --> 00:54:37,120
probably based upon the sales
in Liverpool.
1223
00:54:37,360 --> 00:54:39,800
EMI was kinda happy to have us back.
1224
00:54:40,000 --> 00:54:41,280
"Welcome back, lads!"
1225
00:54:41,840 --> 00:54:43,120
[Paul] We were starting to be this group
1226
00:54:43,200 --> 00:54:45,000
that had done its own material.
1227
00:54:45,200 --> 00:54:47,600
But normally you'd be offered
a number of songs
1228
00:54:47,680 --> 00:54:48,960
by a publisher, and they'd say,
1229
00:54:49,040 --> 00:54:51,080
"Get your boys to do this one.
This is a hit."
1230
00:54:51,200 --> 00:54:52,400
[John] When we first got in the studio,
1231
00:54:52,480 --> 00:54:54,080
they tried to give us
other people's songs.
1232
00:54:54,160 --> 00:54:55,400
They didn't like ours.
1233
00:54:55,720 --> 00:54:59,680
Well, it was quite normal
in those days to find material
1234
00:54:59,760 --> 00:55:02,400
for artists by going to Tin Pan Alley
1235
00:55:02,480 --> 00:55:04,720
and listening
to all the publishers' wares.
1236
00:55:04,800 --> 00:55:06,920
I mean, that was a regular part
of my life.
1237
00:55:07,000 --> 00:55:08,760
I'd spend a long time looking for songs.
1238
00:55:09,080 --> 00:55:10,400
And the songs that I was looking for
1239
00:55:10,480 --> 00:55:12,600
for the Beatles was really a hit song,
1240
00:55:12,680 --> 00:55:15,480
it didn't matter, so long
as it suited their-- the group.
1241
00:55:15,960 --> 00:55:18,280
And "Love Me Do", as I say,
was the best one
1242
00:55:18,360 --> 00:55:19,600
they were able to offer.
1243
00:55:20,160 --> 00:55:21,560
The kind of song I was looking for,
1244
00:55:21,640 --> 00:55:22,920
I did actually find.
1245
00:55:23,480 --> 00:55:25,240
And that was a song by Mitch Murray
1246
00:55:25,320 --> 00:55:26,360
called "How Do You Do It?"
1247
00:55:27,000 --> 00:55:28,840
And I was convinced this was a hit song.
1248
00:55:29,240 --> 00:55:31,440
[John] It forced us to do a version of...
1249
00:55:31,520 --> 00:55:34,680
♪ How do you do what you do to me? ♪
1250
00:55:34,760 --> 00:55:36,040
♪ I wish I knew... ♪
1251
00:55:36,120 --> 00:55:37,240
[chuckles] You know, like that.
1252
00:55:37,480 --> 00:55:40,520
And we did record it.
Um... John took the lead.
1253
00:55:40,600 --> 00:55:44,040
-[♪ "How Do You Do It?" playing]
-♪ How do you do what you do to me? ♪
1254
00:55:44,480 --> 00:55:46,280
♪ I wish I knew ♪
1255
00:55:47,080 --> 00:55:51,280
♪ If I knew how you do it to me,
I'd do it to you ♪
1256
00:55:51,840 --> 00:55:53,920
George said, "Well, it's a No. 1 song.
1257
00:55:54,000 --> 00:55:55,800
If you want a No. 1, this is it."
1258
00:55:56,120 --> 00:55:59,600
We said, "Yeah, but we cannot go
back up to Liverpool
1259
00:56:00,080 --> 00:56:01,200
singing that.
1260
00:56:01,280 --> 00:56:03,200
-We cannot be seen with that song."
-[♪ music concludes]
1261
00:56:03,600 --> 00:56:05,520
So we didn't ever issue
"How Do You Do It?"
1262
00:56:06,200 --> 00:56:08,920
But I did later give it
to Gerry and the Pacemakers,
1263
00:56:09,040 --> 00:56:10,480
and it did become No. 1.
1264
00:56:10,800 --> 00:56:14,120
-[♪ "How Do You Do It?" playing]
-♪ How do you do what you do to me? ♪
1265
00:56:14,520 --> 00:56:16,680
♪ I wish I knew ♪
1266
00:56:16,960 --> 00:56:21,760
♪ If I knew how you do it to me,
I'd do it to you ♪
1267
00:56:21,880 --> 00:56:22,880
So George Martin says,
1268
00:56:22,960 --> 00:56:24,360
"Well, have you got anything
you'd like to do?"
1269
00:56:24,440 --> 00:56:25,520
-We said...
-[♪ music concludes]
1270
00:56:25,600 --> 00:56:27,280
..."We've got a song
called 'Please Please Me'."
1271
00:56:27,480 --> 00:56:29,720
This is one John had just written,
1272
00:56:30,160 --> 00:56:33,000
and it was kind of slow
Roy Orbison kind of thing.
1273
00:56:33,080 --> 00:56:34,920
[♪ sings "Please Please Me"]
♪ Come on, jum-jum ♪
1274
00:56:35,040 --> 00:56:37,320
♪ Come on,
please, please me ♪
1275
00:56:37,400 --> 00:56:39,320
Big note at the end, just like Orbison.
1276
00:56:39,640 --> 00:56:41,240
[John] And I'd heard Roy Orbison doing
1277
00:56:41,320 --> 00:56:43,680
"Only The Lonely" or something,
and I was trying to...
1278
00:56:43,760 --> 00:56:44,800
[sings falsetto]
♪ Please me... ♪
1279
00:56:44,880 --> 00:56:46,080
That's where that came from.
1280
00:56:46,160 --> 00:56:49,280
And also I was always intrigued
by the words of...
1281
00:56:49,360 --> 00:56:52,320
[♪ sings "Please"] ♪ Please,
lend your little ears to my pleas... ♪
1282
00:56:52,400 --> 00:56:55,280
a Bing Crosby song.
I was always intrigued by the...
1283
00:56:55,840 --> 00:56:58,080
the double use of the word "please".
1284
00:56:58,600 --> 00:57:00,040
And I said, "Okay. We'll give it a whirl.
1285
00:57:00,120 --> 00:57:02,240
Let's try your song.
Let's see if it works."
1286
00:57:02,720 --> 00:57:04,040
-And we did.
-[♪ "Please Please Me" playing]
1287
00:57:04,160 --> 00:57:05,560
And at the end of that session,
1288
00:57:05,640 --> 00:57:06,960
I was able to say to them,
1289
00:57:07,360 --> 00:57:09,200
"You've got your first No. 1. Great!"
1290
00:57:09,280 --> 00:57:10,760
[crowd cheering]
1291
00:57:10,920 --> 00:57:14,680
♪ Last night I said these words
to my girl ♪
1292
00:57:16,760 --> 00:57:21,360
♪ I know you never even try, girl ♪
1293
00:57:22,920 --> 00:57:24,640
-♪ Come on ♪
-♪ Come on ♪
1294
00:57:24,720 --> 00:57:26,240
-♪ Come on ♪
-♪ Come on ♪
1295
00:57:26,320 --> 00:57:27,960
-♪ Come on ♪
-♪ Come on ♪
1296
00:57:28,040 --> 00:57:29,280
-♪ Come on ♪
-♪ Come on ♪
1297
00:57:29,360 --> 00:57:34,240
♪ Please, please me, whoa, yeah,
like I please you ♪
1298
00:57:36,960 --> 00:57:41,520
♪ You don't need me
to show the way, love ♪
1299
00:57:43,640 --> 00:57:48,200
♪ Why do I always have to say, love ♪
1300
00:57:49,800 --> 00:57:51,560
-♪ Come on ♪
-♪ Come on ♪
1301
00:57:51,640 --> 00:57:53,240
-♪ Come on ♪
-♪ Come on ♪
1302
00:57:53,320 --> 00:57:54,960
-♪ Come on ♪
-♪ Come on ♪
1303
00:57:55,040 --> 00:57:56,320
-♪ Come on ♪
-♪ Come on ♪
1304
00:57:56,400 --> 00:58:01,280
♪ Please, please me, whoa, yeah,
like I please you ♪
1305
00:58:03,600 --> 00:58:05,240
♪ I don't want to sound complaining ♪
1306
00:58:05,320 --> 00:58:08,720
♪ But you know there's always
rain in my heart ♪
1307
00:58:08,800 --> 00:58:10,440
-♪ In my heart ♪
-♪ In my heart ♪
1308
00:58:10,520 --> 00:58:12,120
♪ I do all the pleasing with you ♪
1309
00:58:12,200 --> 00:58:15,040
♪ It's so hard to reason with you ♪
1310
00:58:15,120 --> 00:58:18,320
♪ Oh yeah,
why do you make me blue? ♪
1311
00:58:21,240 --> 00:58:25,880
♪ Last night I said these words
to my girl ♪
1312
00:58:27,960 --> 00:58:32,600
♪ I know you never even try, girl ♪
1313
00:58:34,160 --> 00:58:35,680
-♪ Come on ♪
-♪ Come on ♪
1314
00:58:35,760 --> 00:58:37,400
-♪ Come on ♪
-♪ Come on ♪
1315
00:58:37,640 --> 00:58:39,240
-♪ Come on ♪
-♪ Come on ♪
1316
00:58:39,320 --> 00:58:40,720
-♪ Come on ♪
-♪ Come on ♪
1317
00:58:40,800 --> 00:58:45,520
♪ Please, please me, whoa, yeah,
like I please you ♪
1318
00:58:45,600 --> 00:58:48,880
♪ Me, whoa, yeah, like I please you ♪
1319
00:58:49,000 --> 00:58:52,440
♪ Me, whoa, yeah, like I please you ♪
1320
00:58:52,520 --> 00:58:56,680
[♪ vocalizing]
1321
00:58:56,760 --> 00:58:59,880
-[♪ music concludes]
-[crowd cheering, applauding]
1322
00:58:59,960 --> 00:59:03,160
And Bob Wooler got on the stage,
telegram in his hand.
1323
00:59:04,240 --> 00:59:05,560
"I've got news for you.
1324
00:59:05,640 --> 00:59:08,080
The Beatles' record, 'Please Please Me'
1325
00:59:08,160 --> 00:59:10,680
has reached No. 1 in the national charts."
1326
00:59:11,160 --> 00:59:14,400
And the lads themselves
just stopped and looked at him.
1327
00:59:14,600 --> 00:59:15,800
You know, they thought he was joking,
1328
00:59:15,880 --> 00:59:16,880
he must have been.
1329
00:59:16,960 --> 00:59:19,080
You know, that was Paul,
"He must be joking."
1330
00:59:19,520 --> 00:59:20,840
And there... there were a lot of people
1331
00:59:20,920 --> 00:59:22,280
who didn't know the Beatles,
1332
00:59:22,360 --> 00:59:24,680
and they all started cheering
and clapping.
1333
00:59:25,080 --> 00:59:27,080
And there were about three rows
of girls at the front,
1334
00:59:27,160 --> 00:59:29,400
and every one of us started crying.
1335
00:59:29,720 --> 00:59:32,440
It was a terrible night.
You know, we knew then,
1336
00:59:32,600 --> 00:59:33,960
they'll get famous and they'll go away
1337
00:59:34,040 --> 00:59:35,360
and they'll belong to us no more.
1338
00:59:37,400 --> 00:59:41,080
[♪ "Leave My Kitten Alone" playing]
1339
00:59:42,440 --> 00:59:44,360
♪ You better leave ♪
1340
00:59:45,880 --> 00:59:50,680
♪ My kitten all alone ♪
1341
00:59:51,800 --> 00:59:53,760
♪ You better leave ♪
1342
00:59:55,400 --> 01:00:00,240
♪ My kitten all alone ♪
1343
01:00:01,320 --> 01:00:04,200
♪ Well, I told you, big fat bulldog ♪
1344
01:00:04,600 --> 01:00:07,480
♪ You better leave her alone ♪
1345
01:00:10,720 --> 01:00:12,880
♪ You better leave ♪
1346
01:00:14,360 --> 01:00:19,240
♪ My kitten all alone ♪
1347
01:00:20,240 --> 01:00:22,400
♪ You better leave ♪
1348
01:00:23,880 --> 01:00:28,800
♪ My kitten all alone ♪
1349
01:00:29,840 --> 01:00:32,600
♪ This dog is gonna get you ♪
1350
01:00:33,160 --> 01:00:36,080
♪ If you don't leave her alone ♪
1351
01:00:39,120 --> 01:00:40,320
♪ Well, Mister Dog ♪
1352
01:00:40,400 --> 01:00:41,800
♪ I'm gonna hit you ♪
1353
01:00:41,880 --> 01:00:44,120
♪ On the top of your head ♪
1354
01:00:44,560 --> 01:00:46,560
♪ That child is gonna miss you ♪
1355
01:00:46,640 --> 01:00:47,760
♪ You're gonna wish ♪
1356
01:00:47,840 --> 01:00:49,000
♪ That you was dead ♪
1357
01:00:49,080 --> 01:00:52,600
♪ If you don't leave ♪
1358
01:00:52,680 --> 01:00:55,320
♪ My kitten all alone ♪
1359
01:00:58,600 --> 01:00:59,880
♪ Well, I told you ♪
1360
01:00:59,960 --> 01:01:01,560
♪ Big fat bulldog ♪
1361
01:01:02,000 --> 01:01:05,040
♪ You better leave her alone ♪
1362
01:01:08,280 --> 01:01:09,480
♪ All right! ♪
1363
01:01:16,040 --> 01:01:18,600
♪ Hey, hey, hey, come on! ♪
1364
01:01:21,520 --> 01:01:23,360
♪ Yeah, yeah, yeah! ♪
1365
01:01:35,160 --> 01:01:37,120
♪ Yeah, yeah! ♪
1366
01:01:37,200 --> 01:01:38,280
♪ Well, Mister Dog ♪
1367
01:01:38,400 --> 01:01:39,440
♪ I'm gonna hit you ♪
1368
01:01:39,520 --> 01:01:42,000
♪ On the top of your head ♪
1369
01:01:42,480 --> 01:01:44,480
♪ That child is gonna miss you ♪
1370
01:01:44,560 --> 01:01:45,560
♪ You're gonna wish ♪
1371
01:01:45,640 --> 01:01:46,640
♪ That you was dead ♪
1372
01:01:46,720 --> 01:01:50,240
♪ If you don't leave ♪
1373
01:01:50,320 --> 01:01:53,080
♪ My kitten all alone ♪
1374
01:01:53,800 --> 01:01:55,160
♪ Oh, yeah ♪
1375
01:01:55,920 --> 01:01:57,440
♪ Well, I told you ♪
1376
01:01:57,520 --> 01:01:59,040
♪ Big fat bulldog ♪
1377
01:01:59,480 --> 01:02:02,360
♪ You better leave her alone ♪
1378
01:02:03,640 --> 01:02:04,720
♪ Hey, hey ♪
1379
01:02:05,840 --> 01:02:07,440
♪ You better leave ♪
1380
01:02:08,160 --> 01:02:09,720
♪ You better leave ♪
1381
01:02:10,640 --> 01:02:14,400
♪ You better leave ♪
1382
01:02:14,720 --> 01:02:16,840
♪ Yeah, you better leave ♪
1383
01:02:17,760 --> 01:02:19,360
♪ You better leave ♪
1384
01:02:19,680 --> 01:02:21,440
♪ Oh, you gotta leave ♪
1385
01:02:22,360 --> 01:02:23,560
♪ Hey, hey ♪
1386
01:02:24,960 --> 01:02:26,120
♪ Well, I told you ♪
1387
01:02:26,200 --> 01:02:27,640
♪ Big, fat bulldog ♪
1388
01:02:28,240 --> 01:02:31,000
♪ You better leave her alone ♪
1389
01:02:32,800 --> 01:02:34,280
[♪ music concludes]
111544
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