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00:00:02,503 --> 00:00:06,383
[crowd cheering]

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00:00:08,967 --> 00:00:13,307
GEORGE HARRISON: We'd like to carry on now
with a song featuring just Paul,

3
00:00:13,305 --> 00:00:15,345
and it's called Yesterday.

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00:00:15,766 --> 00:00:17,426
[cheering continues]

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♪

6
00:00:21,063 --> 00:00:22,733
♪ Yesterday ♪

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♪ All my troubles seemed
so far away ♪

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♪ Now it looks as though
they're here to stay ♪

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♪ Oh, I believe ♪

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♪ In yesterday ♪

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♪ Suddenly ♪

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♪ I'm not half the man
I used to be ♪

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PAUL MCCARTNEY: I dreamed this.

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I was in a little top floor flat
at my girlfriend's house.

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I, I woke up with this tune.

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I thought, "I love this tune.

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"Oh, this must be from my dad's era

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or just like some old tune."

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So I just started

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[humming Yesterday]

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♪

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So I had that, but I couldn't carry
the piano with me.

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So, you know, I, I transposed it
onto a guitar.

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Said to peoplefirst of all, John.

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Yeah.
Said, "What's this?"

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You know?
He said, "I don't know."

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I said, "No, this tune,
it must be something.

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Wewe've heard it."
He said, "I don't know."

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So I took it to George Martin,
our producer,

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and George has got
a wider knowledge

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of particularly older songs.

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So I said, "What's this?"
He said, "I don't know."

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I said, "Well, I've called it Yesterday."

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He said, "Well, there is
a song called Yesterdays."

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I said, "I'm not worried about the title.

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It's this melody, you know,
because I, I can't have written it..."

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Yeah.

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'Cause I didn'tthere was
no conscious effort involved.

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Yeah.
I just woke up and it was there.

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So, you know, people later would say
to me, you know,

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"Do you believe in magic?"

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I said, "Well, I have to."

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You know? I mean,
how did that happen?

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Yeah.
I'm sleeping.

45
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[snoring]

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[humming]
Going "oh..."

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I love this song. I love it.

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Wake up. Now the difference is,
I remembered it.

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Yes.

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I think a lot of people hear
beautiful music in their dreams.

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Yes.
But don't necessarily remember it.

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I wonder if you didn't have
a piano there,

53
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if you would have been able
to remember it.

54
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Yeah.

55
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You know, waking up,
and luckily, there was a piano.

56
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Yeah, it's true.
It was very lucky, yeah.

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But in those days, you had
to remember a lot of things...
You have to! Yeah.

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...because you didn'twe weren't able
to record things so easily.

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You weren't able to record things.
At all.

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There was, like, no phones
to do it, obviously.
Yeah.

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The only things were these big
Grundig tape recorders

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with a green eye on them.

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Which you wouldn't always have
in your pocket.

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[chuckles]

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You wouldn't even have in your home.
Really?

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Because, yeah, you've got to have
a bit of money to have them.

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PAUL [on recording]:
♪ Why she had to go ♪

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♪ I don't know,
she wouldn't say ♪

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♪ I said ♪

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PAUL: I'd recorded it just
with the guitar and vocal.

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And I'd said to the guys
in the band, I said,

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"What are you going
to do," you know?

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And they all said,
"No, I don't think we need to do anything.

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You should just do it on your own."

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So it's like the first time, I think,

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I'd ever done like a solo thing.

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So I just played on guitar.

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And George Martin said,
"For safety, let's just do one more,"

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and this was the second take
that they used.

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And then we're sitting around
listening to it.

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♪ I don't know ♪

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And I'm thinking...

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♪ She wouldn't say ♪

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"Yeah." You know, "sounds nice."

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RICK RUBIN: Yeah.

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And George said, he's got
this idea to put strings on it.

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He said, "I think it'd be great
with a string quartet."

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I'm going, "No." I mean...

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And you guys had never used
strings before this.

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No. And plus
we're a rockandroll band.

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You don't use strings.

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So George being very smart,
he said, "Well, let's try it."

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Yeah.

94
00:04:03,368 --> 00:04:05,408
"And if you hate it,
we can take it off."

95
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So he did try it.

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♪ Love was such
an easy game to play ♪

97
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♪ Now I need a place to hide away ♪

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♪ Oh, I believe in yesterday ♪

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PAUL: Yeah, so I loved it.
I loved the session.

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RICK: Right away, like right away.

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When you first heard it,
was it jarring or good experience?

102
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No, it was great, you know,
'cause it's just me

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00:04:29,144 --> 00:04:31,064
with George up in the control room.
Yeah.

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And we go down and we sit
and meet the string players,

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just a little quartet.
Mmhmm.

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And I was really excited.
Yeah.

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Because we'd never done
anything like this,

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and it suddenly made it feel whole.

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George Martin was a huge help in that...
RICK: Yeah.

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...in as much as he could write it,

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you know, normally you,
you've got a song

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and you have to get
an outside arranger in.

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Yeah.

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And then he sort of goes off
into a cupboard somewhere,

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and you don't quite know
what it's going to be.

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But with George, you knew that
we read each other well enough.

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The funny thing was
when we were shown notation,

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it didn't mean anything to us,

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still doesn't really mean anything to me.

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Even though I work
with a classical orchestra

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and do a huge orchestral piece,

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I will have to talk it through
with them rather than say,

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"Um, the B flat in bar 14,

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that should be a B, not a B flat."

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You know? After going,
"No, that note there should be"

126
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Uh, you know, I know
Lower or higher.

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[laughs]
Yeah. Lower or higher.

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But, um,
that's how we did it.

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And my excuse, there is an excuse,

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because coming from Liverpool,

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there's a lot of sort of
Irish Celtic influence.

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And the Celts never
wrote anything down.

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It's the bardic tradition.
Yeah.

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So that's our excuse.
Yeah.

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Me and John used to say,
"Yeah, it was the bardic tradition."

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[both laugh]

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When you were kids
starting to write songs,

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what would you hear
on the radio typically?

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In the early days,
there wasn't much on radio.

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There was just one
or two cool DJs,

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but we were listening to records

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and it'd be a lot of RandB,

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things like Ray Charles,

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and Little Richard,

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Chuck Berry, Jerry Lee Lewis,
Isley Brothers,

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we'd cover all those.

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♪ Ah, Kansas City ♪

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♪ Going to get
my baby one time ♪

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♪ Yeah, yeah ♪

150
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♪ I'm going to Kansas City ♪

151
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♪ Going to get
my baby one time ♪

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♪ Yeah, yeah ♪

153
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♪ It's just a one, two, three, four ♪

154
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♪ Five, six, seven, eight, nine ♪

155
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♪ Whoa ♪

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PAUL: I thought I was
Ray Charles, in my head.

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RICK:
Were records easy to come by?

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Was it a popular thing at the time?

159
00:06:50,536 --> 00:06:52,496
Yeah. I mean, you could go
to a record shop

160
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and you'd go in the booths
and you'd listen.

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The main thing was finance.

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You didn't have that much money.

163
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So you'd have to save up
to buy an LP

164
00:07:02,089 --> 00:07:04,129
or concert tickets.

165
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♪ Hey, child ♪

166
00:07:05,551 --> 00:07:07,801
♪ I said now, now, huh ♪

167
00:07:07,803 --> 00:07:09,053
♪ Goodbye ♪

168
00:07:09,054 --> 00:07:11,684
♪ Yeah, tell me, baby ♪

169
00:07:12,391 --> 00:07:14,601
♪ What's been wrong with you? ♪

170
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♪ Yeah ♪

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We all started, all the bands,
started off doing covers

172
00:07:20,691 --> 00:07:24,441
when we were in Hamburg
and in The Cavern in Liverpool,

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it was pretty much all covers.

174
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So I would do Long Tall Sally
by Little Richard.

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But so did one of the other groups.

176
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There was a group called
Derry and the Seniors.

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00:07:33,954 --> 00:07:36,374
And, and Derry, he could do

178
00:07:36,373 --> 00:07:38,133
[imitating Little Richard]:
♪ Gonna tell Aunt Mary ♪

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00:07:38,125 --> 00:07:40,245
[normal voice]: He could do that,
you know, and so it was like,

180
00:07:40,252 --> 00:07:41,922
"Well, I want to do it better."
Yeah.

181
00:07:41,920 --> 00:07:43,380
Because if you were backstage

182
00:07:43,380 --> 00:07:45,630
and you were going to be on after them...
Yeah.

183
00:07:45,632 --> 00:07:48,302
and you suddenly heard...
♪ Gonna tell Aunt Mary ♪

184
00:07:48,302 --> 00:07:50,302
You'd go, "Ugh," you know,

185
00:07:50,304 --> 00:07:52,064
"Well, I was going to do that."
Yeah.

186
00:07:52,055 --> 00:07:54,635
And you actually
didn't have time to change,

187
00:07:54,641 --> 00:07:56,191
so you would do that.

188
00:07:56,185 --> 00:07:58,305
You'd go on and just hope
your version was better.

189
00:07:59,354 --> 00:08:01,944
I remember we used to do
a threefour thing,

190
00:08:02,733 --> 00:08:05,323
♪ If you gotta make
a fool of somebody ♪

191
00:08:05,319 --> 00:08:06,529
[humming]

192
00:08:06,528 --> 00:08:09,318
♪ If you gotta make
a fool of someone ♪

193
00:08:09,323 --> 00:08:10,873
[humming]

194
00:08:11,241 --> 00:08:13,451
The original version was by James Ray.

195
00:08:14,828 --> 00:08:18,168
JAMES RAY: ♪ If you got to make
a fool of somebody ♪

196
00:08:19,917 --> 00:08:24,587
♪ If you gotta make
a fool of someone ♪

197
00:08:25,839 --> 00:08:27,339
It was a real cool little thing,

198
00:08:27,341 --> 00:08:29,721
and I said, we'd never heard
this beat.

199
00:08:29,718 --> 00:08:33,678
[imitating drumbeats]

200
00:08:33,680 --> 00:08:35,770
Uh, like a waltz,
a rockandroll waltz,

201
00:08:36,600 --> 00:08:37,640
so we did this.

202
00:08:37,643 --> 00:08:40,153
And I remember a couple
of the London bands coming up,

203
00:08:40,854 --> 00:08:43,074
"Play If You Gotta Make
a Fool of Somebody."

204
00:08:43,065 --> 00:08:44,815
Because it was
they'd not heard anything like this.

205
00:08:44,816 --> 00:08:46,356
Yeah. Where would you
have heard it?

206
00:08:46,360 --> 00:08:49,660
On record. George had the album,
James Ray album.

207
00:08:50,280 --> 00:08:52,740
And he tookhe later,
much later, he got,

208
00:08:52,741 --> 00:08:54,951
♪ Got my mind set on you ♪
Yeah.

209
00:08:54,952 --> 00:08:57,542
That was a James Ray, off that album.
Wow! Wow!

210
00:08:57,538 --> 00:08:59,708
So George remembered that.

211
00:09:00,249 --> 00:09:04,959
But we'd have these little
oddball songs that we'd put in

212
00:09:04,962 --> 00:09:07,262
because we were playing so many hours.
Yeah.

213
00:09:07,256 --> 00:09:09,466
We didn't want to get bored.
Yeah.

214
00:09:09,466 --> 00:09:12,546
Just keep it interesting.
We justwe could not have handled it

215
00:09:12,553 --> 00:09:17,313
if we'devery set we played
the same lot of songs.

216
00:09:17,307 --> 00:09:19,307
So we started to think,
"Well, you know what?

217
00:09:19,309 --> 00:09:21,939
If we wrote stuff, they wouldn't know it."

218
00:09:22,771 --> 00:09:25,821
Nobody would be able to access it.
It'd be private to us.

219
00:09:26,316 --> 00:09:28,436
So that's actually what started
Yeah.

220
00:09:28,443 --> 00:09:30,153
It wasn't a great light bulb went off.

221
00:09:30,153 --> 00:09:31,823
It was sheer necessity

222
00:09:32,281 --> 00:09:34,621
to have something
the other bands couldn't play.

223
00:09:35,534 --> 00:09:38,334
JOHN LENNON [on recording]:
Quite, quite brisk.
Moderate Alto Fox Trot.

224
00:09:38,704 --> 00:09:40,584
MAN: [indiscernible]
...the red light's on.

225
00:09:40,581 --> 00:09:42,621
JOHN: Is it? Oh, of course,
I couldn't see.

226
00:09:42,624 --> 00:09:44,384
One, two, three, four!

227
00:09:44,376 --> 00:09:48,376
♪ And Your Bird Can Sing playing ♪

228
00:09:48,380 --> 00:09:51,550
♪

229
00:09:51,550 --> 00:09:54,970
♪ Tell me that you've got
everything you want ♪

230
00:09:54,970 --> 00:09:57,470
♪ And your bird can sing ♪

231
00:09:57,472 --> 00:09:59,312
♪ But you don't get me ♪

232
00:10:01,393 --> 00:10:02,523
♪ You don't get ♪

233
00:10:02,936 --> 00:10:04,606
♪ Me ♪

234
00:10:04,605 --> 00:10:09,225
♪

235
00:10:09,860 --> 00:10:10,650
Wow.

236
00:10:10,652 --> 00:10:15,412
♪

237
00:10:15,407 --> 00:10:16,117
Wow.

238
00:10:16,116 --> 00:10:18,946
♪

239
00:10:20,746 --> 00:10:23,366
♪ When your bird is broken ♪

240
00:10:24,374 --> 00:10:27,004
♪ Will it bring you down? ♪

241
00:10:27,920 --> 00:10:30,420
♪ You may be awoken ♪

242
00:10:30,881 --> 00:10:32,011
♪ I'll be 'round ♪

243
00:10:32,007 --> 00:10:34,217
The two of them are cooking!

244
00:10:34,218 --> 00:10:35,218
Like
Yeah.

245
00:10:35,719 --> 00:10:36,549
Cooking.

246
00:10:38,805 --> 00:10:42,845
♪ And your bird can swing
but you can't hear me ♪

247
00:10:43,268 --> 00:10:44,938
♪ Me ♪
RICK: Yeah.

248
00:10:44,937 --> 00:10:46,097
♪ You can't hear ♪

249
00:10:46,522 --> 00:10:48,322
♪ Me ♪

250
00:10:49,650 --> 00:10:54,360
♪

251
00:10:54,363 --> 00:10:57,453
[humming]

252
00:10:57,449 --> 00:11:03,119
♪

253
00:11:05,791 --> 00:11:08,171
And we're listening
with the drums out,

254
00:11:08,168 --> 00:11:11,458
and it's still fullon cooking.
Yeah.

255
00:11:11,463 --> 00:11:12,713
It's good, innit? Yeah.

256
00:11:13,465 --> 00:11:14,255
Wow.
Well, that's the thing.

257
00:11:14,258 --> 00:11:17,048
You can hear the excitement
of us just making stuff up.

258
00:11:17,052 --> 00:11:19,012
For sure. For sure.
Can't you?

259
00:11:19,012 --> 00:11:21,472
It's just like, "Yeah.
Let's do that." "Oh, okay."

260
00:11:21,932 --> 00:11:23,642
You know?
It, it sounds thrilling.

261
00:11:23,642 --> 00:11:25,892
Like, and I think what it is,

262
00:11:25,894 --> 00:11:29,654
is you guys were excited making it.
Mm, mm.

263
00:11:29,648 --> 00:11:32,398
And we get to feel your excitement.
Yeah.

264
00:11:32,734 --> 00:11:36,954
You canIt's a human feeling
that's in that performance.

265
00:11:36,947 --> 00:11:37,987
Yeah.

266
00:11:37,990 --> 00:11:41,030
Clearly, these guys are going for it.
Yeah.

267
00:11:41,034 --> 00:11:42,334
Really. Yeah.
And you feel it.

268
00:11:42,327 --> 00:11:44,407
Because it all had
to be done so quickly.

269
00:11:44,413 --> 00:11:47,883
Yeah, it's contagious, you know.
Like, the energy is contagious.

270
00:11:47,875 --> 00:11:48,535
Yeah, yeah, yeah.

271
00:11:48,542 --> 00:11:53,262
♪ And Your Bird Can Sing continues ♪

272
00:11:53,255 --> 00:11:57,255
♪

273
00:11:57,259 --> 00:11:59,929
It hasTo me,
it has a Celtic flavor.

274
00:11:59,928 --> 00:12:01,098
I don't know why that is.

275
00:12:01,096 --> 00:12:03,426
Well, you know, I mean,
we're Liverpool boys,

276
00:12:03,432 --> 00:12:05,732
and they say Liverpool is
the capital of Ireland.

277
00:12:06,268 --> 00:12:09,608
So it's likely that
there's all those influences, you know.

278
00:12:10,439 --> 00:12:14,069
But we would just make up
the solo, in this case,

279
00:12:14,067 --> 00:12:17,737
and just learn the harmony and the solo
and then play the two live.

280
00:12:18,197 --> 00:12:23,157
SoBut technically, this isn't
what you think of as the song.

281
00:12:23,493 --> 00:12:26,963
This was a musical choice
you made in the studio.

282
00:12:26,955 --> 00:12:28,995
Yeah, yeah. Yeah.
The song would have been more

283
00:12:28,999 --> 00:12:32,589
♪

284
00:12:32,586 --> 00:12:36,466
♪ You tell me that you heard
every sound there is ♪

285
00:12:36,465 --> 00:12:40,545
♪ And your bird can swing
but you can't hear me ♪

286
00:12:41,261 --> 00:12:42,971
Yeah. Really straightforward.

287
00:12:42,971 --> 00:12:44,181
♪ You can't hear ♪

288
00:12:44,181 --> 00:12:46,231
[singing along]
♪ Me ♪

289
00:12:48,101 --> 00:12:51,361
♪

290
00:12:51,355 --> 00:12:54,725
Yeah. This is more traditional
until we get to

291
00:12:54,733 --> 00:12:56,653
Yeah! The solo, yeah.
Yeah.

292
00:12:56,652 --> 00:13:00,952
♪

293
00:13:07,329 --> 00:13:08,999
♪ song ends ♪

294
00:13:08,997 --> 00:13:10,417
Yeah.
It's amazing.

295
00:13:10,415 --> 00:13:12,995
Good group.
[both chuckle]

296
00:13:13,001 --> 00:13:15,801
Was there ever a time
where you guys would sing unison

297
00:13:15,796 --> 00:13:17,046
as opposed to harmony?

298
00:13:17,047 --> 00:13:19,337
Yeah. Always on the early records.

299
00:13:19,341 --> 00:13:22,851
That was the thing because
we'd written the song together.

300
00:13:22,845 --> 00:13:23,635
Yeah.

301
00:13:23,637 --> 00:13:26,097
And we'd sing it together.

302
00:13:26,640 --> 00:13:28,930
Just, just kind of remember it
and just sing it.

303
00:13:29,434 --> 00:13:31,354
And George Martin would say,
"Who's the lead singer?"

304
00:13:31,353 --> 00:13:33,313
We'd say, "Well, me and John."
Yeah.

305
00:13:33,313 --> 00:13:35,323
So it was like
early double tracking.

306
00:13:35,315 --> 00:13:36,015
Yeah, yeah.

307
00:13:36,024 --> 00:13:37,944
And also, it might just have been

308
00:13:37,943 --> 00:13:40,653
that both of us wanted to do the vocal.

309
00:13:40,654 --> 00:13:41,324
Yeah.

310
00:13:41,321 --> 00:13:44,281
So there's only one answer
to that, both do it.

311
00:13:44,283 --> 00:13:46,083
[Paul laughs]
Yeah, yeah, yeah.

312
00:13:46,076 --> 00:13:48,536
Would you sit down
to write a song

313
00:13:48,537 --> 00:13:51,287
or... does it just happen?

314
00:13:51,832 --> 00:13:54,252
With John and I, we'd sit down.
Yeah.

315
00:13:54,710 --> 00:13:57,250
And you would know,
"I'm coming over tomorrow at noon.

316
00:13:57,254 --> 00:13:59,174
We're going to meet
at this time and let's write."

317
00:13:59,173 --> 00:14:00,763
Yeah, yeah.
And we'll just write something.

318
00:14:01,508 --> 00:14:04,298
♪ To lead a better life ♪

319
00:14:05,053 --> 00:14:09,023
♪ I need my love to be here ♪

320
00:14:10,601 --> 00:14:12,351
♪ Here ♪

321
00:14:13,604 --> 00:14:17,694
♪ Making each day of the year ♪

322
00:14:19,443 --> 00:14:24,573
♪ Changing my life
with the wave of her hand ♪

323
00:14:25,240 --> 00:14:28,540
♪ Nobody can deny ♪

324
00:14:28,535 --> 00:14:30,825
♪ That there's something there ♪

325
00:14:30,829 --> 00:14:34,119
I wrote this song while waiting
for John to get up.

326
00:14:34,124 --> 00:14:36,884
I used to go out
to his house to write.

327
00:14:37,669 --> 00:14:39,959
He wasn't always ready,
shall we say.

328
00:14:40,506 --> 00:14:42,376
So I'm just sitting out
with my guitar

329
00:14:42,382 --> 00:14:44,472
and started working on this one.

330
00:14:45,093 --> 00:14:46,473
And then when John had come,

331
00:14:46,470 --> 00:14:49,640
I said, "Look, I've got this."
"Great, let's finish it up."

332
00:14:50,140 --> 00:14:52,180
And so we'd finish it up together.

333
00:14:53,393 --> 00:14:56,063
This was a tune I was always
very pleased with, you know.

334
00:14:56,063 --> 00:14:58,523
People say, "Which is
your favorite tune of yours?"

335
00:14:58,524 --> 00:14:59,074
Yeah.

336
00:14:59,066 --> 00:15:02,686
And I'm kind of tempted to say Yesterday
because it arrived so magically.

337
00:15:03,403 --> 00:15:06,203
But I like this one.
I like Here, There, and Everywhere.

338
00:15:06,198 --> 00:15:08,618
And in fact,
John liked this one.

339
00:15:08,617 --> 00:15:11,537
And John was not one to praise.

340
00:15:11,537 --> 00:15:12,197
Yeah.

341
00:15:12,204 --> 00:15:14,714
Because, you know, we've talked
about him being a little bit shielded.

342
00:15:14,706 --> 00:15:15,366
Yeah.

343
00:15:15,374 --> 00:15:18,844
You know, he just wouldn't praise
anything unless he really liked it.

344
00:15:19,711 --> 00:15:21,551
After we'd made this record,

345
00:15:21,547 --> 00:15:27,137
we were going to film
in Austria for the film Help.

346
00:15:27,135 --> 00:15:28,425
Yes.
[Paul mutters]

347
00:15:28,428 --> 00:15:31,638
And me and John shared a ski chalet,

348
00:15:32,140 --> 00:15:34,980
so we were taking our boots off and stuff
as we were playing the album.

349
00:15:35,561 --> 00:15:37,731
I remember him saying,
"Oh, I like this one."

350
00:15:38,522 --> 00:15:40,442
And you know what?
That was, like, enough.

351
00:15:40,440 --> 00:15:41,020
Yeah.

352
00:15:41,024 --> 00:15:43,744
That was a great praise
coming from John.

353
00:15:43,735 --> 00:15:46,405
♪ ...everywhere ♪

354
00:15:46,405 --> 00:15:48,615
♪ Knowing that love is to share ♪

355
00:15:48,615 --> 00:15:50,445
It's pushing the bass notes too.

356
00:15:50,450 --> 00:15:51,540
Yeah.
And the guitar.

357
00:15:53,412 --> 00:15:54,502
Cool.

358
00:15:54,496 --> 00:15:57,286
♪ That love never dies ♪

359
00:15:57,291 --> 00:15:58,081
Incredible harmony.

360
00:15:58,083 --> 00:16:00,003
[singing along]
♪ Watching her eyes ♪

361
00:16:00,002 --> 00:16:00,752
Incredible.

362
00:16:00,752 --> 00:16:05,512
♪ And hoping I'm always there ♪

363
00:16:06,133 --> 00:16:08,723
♪ I will be there ♪

364
00:16:09,428 --> 00:16:11,928
♪ And everywhere ♪

365
00:16:12,681 --> 00:16:15,271
♪ Here, there ♪

366
00:16:15,267 --> 00:16:19,397
♪ And everywhere ♪

367
00:16:19,396 --> 00:16:23,356
♪ song ends ♪

368
00:16:25,444 --> 00:16:27,244
RICK: Did you take turns,
like John would do a song

369
00:16:27,237 --> 00:16:29,277
and then you would do a song
and back and forth,

370
00:16:29,281 --> 00:16:31,491
that's how it would work?
PAUL: Yeah. Often. Yeah.

371
00:16:31,491 --> 00:16:34,491
It would be his song,
my song, his song, my song.

372
00:16:34,494 --> 00:16:35,254
RICK: Yeah.

373
00:16:35,245 --> 00:16:38,995
I mean, I say this a lot,
but as a Beatles' fan now,

374
00:16:38,999 --> 00:16:41,079
it is astounding to me

375
00:16:41,084 --> 00:16:43,384
that, I think, all in all,

376
00:16:43,378 --> 00:16:46,378
I think John and I wrote
just short of 300 songs,

377
00:16:46,798 --> 00:16:49,048
and every session, we finished the song.

378
00:16:49,927 --> 00:16:52,677
You'd think that there'd be at least ten

379
00:16:53,180 --> 00:16:54,470
where we just couldn't get it.

380
00:16:55,265 --> 00:16:58,345
But there was something
about the work ethic

381
00:16:58,352 --> 00:17:02,732
or just theknowing each other so well,

382
00:17:02,731 --> 00:17:04,821
that we would spur each other on

383
00:17:04,816 --> 00:17:06,896
and we just didn't like to leave it.

384
00:17:06,902 --> 00:17:08,652
"We haven't done it.
We haven't finished it."

385
00:17:09,154 --> 00:17:12,454
So we would, we would go
till we, till we finished stuff,

386
00:17:12,991 --> 00:17:15,411
um... and we did.

387
00:17:15,410 --> 00:17:16,910
We pretty much did.

388
00:17:16,912 --> 00:17:17,912
It's amazing.

389
00:17:17,913 --> 00:17:20,173
It was, it was great.
you know, I say, I look back,

390
00:17:20,958 --> 00:17:24,378
at the time I was just working
with this bloke called John.

391
00:17:24,378 --> 00:17:25,378
Yeah.

392
00:17:25,379 --> 00:17:28,129
Now I look back, and I was working
with John Lennon.

393
00:17:28,674 --> 00:17:34,394
♪ A Day in the Life playing ♪

394
00:17:34,680 --> 00:17:38,810
I knew this was like a, a big song

395
00:17:38,809 --> 00:17:40,939
from the minute John brought it in

396
00:17:40,936 --> 00:17:42,726
and we started working on it.

397
00:17:42,729 --> 00:17:47,729
♪ music intensifying ♪

398
00:17:47,734 --> 00:17:53,204
♪

399
00:18:04,334 --> 00:18:05,464
♪ piano music playing ♪

400
00:18:05,460 --> 00:18:06,340
Yeah.

401
00:18:06,336 --> 00:18:09,876
So I mean, that was like,
I'd been, by that time,

402
00:18:09,882 --> 00:18:12,472
this is, this is quite late
in The Beatles.

403
00:18:12,467 --> 00:18:15,927
And I'd been listening to, like,
a lot of avant garde music.

404
00:18:15,929 --> 00:18:17,009
Yeah.
I was in London.

405
00:18:17,014 --> 00:18:18,524
I was hanging out,

406
00:18:18,515 --> 00:18:20,305
and, you know,
we're getting quite artsy

407
00:18:20,309 --> 00:18:22,729
and going to a lot of arts exhibitions.

408
00:18:22,728 --> 00:18:27,068
And I was, you know,
reading about crazy composers,

409
00:18:27,065 --> 00:18:28,475
like John Cage.
Yeah.

410
00:18:28,483 --> 00:18:32,953
The concepts were like,
wow, very freeing.

411
00:18:32,946 --> 00:18:36,326
John Cage and Water Walk.

412
00:18:38,118 --> 00:18:43,708
♪

413
00:18:43,707 --> 00:18:44,537
[pops]

414
00:18:44,875 --> 00:18:45,955
[hisses]

415
00:18:47,961 --> 00:18:48,801
[clatters]

416
00:18:48,795 --> 00:18:50,375
[audience laughs, cheers]

417
00:18:50,380 --> 00:18:51,760
♪

418
00:18:52,591 --> 00:18:53,301
[quacks]

419
00:18:53,300 --> 00:18:54,890
PAUL: I don't want to do that,

420
00:18:54,885 --> 00:18:56,885
but I love the idea that he did it.

421
00:18:58,138 --> 00:18:59,718
I said to George Martin,

422
00:18:59,723 --> 00:19:01,643
"George, we need
a symphony orchestra."

423
00:19:02,142 --> 00:19:05,062
And George originally said,
"I don't thinkWe don't need that many."

424
00:19:05,646 --> 00:19:09,226
He said, "It's a full symphony, which is
like over 40 people or something."

425
00:19:09,233 --> 00:19:12,323
I said, "Yeah, this song,
we, we, we want it."

426
00:19:12,778 --> 00:19:18,028
So then the original thing
that I put down was,

427
00:19:18,033 --> 00:19:19,333
from a certain point,

428
00:19:19,326 --> 00:19:22,116
all the musicians
were allowed to break free.

429
00:19:23,121 --> 00:19:25,171
And now these are session musicians.

430
00:19:25,165 --> 00:19:27,375
They're not used to doing
this kind of stuff,

431
00:19:27,376 --> 00:19:29,246
and it kind of frightens them a bit.

432
00:19:29,253 --> 00:19:31,133
So I sort of said,
"Okay, here's the instruction.

433
00:19:31,505 --> 00:19:34,545
I said, "Each instrument,

434
00:19:34,550 --> 00:19:36,930
"you start
on your lowest note

435
00:19:36,927 --> 00:19:39,297
"and you're going
to reach your highest note,

436
00:19:39,304 --> 00:19:41,224
"but you go at your own speed.

437
00:19:41,223 --> 00:19:42,393
"So if you want, you can go,

438
00:19:42,391 --> 00:19:44,811
[trilling] and you're done."
Yeah.

439
00:19:44,810 --> 00:19:49,230
"Or you can go...
[humming]

440
00:19:49,231 --> 00:19:50,401
and you can just play with it."

441
00:19:51,441 --> 00:19:55,701
The strings wouldn't really move
without each other.

442
00:19:55,696 --> 00:19:57,486
They all went...
[humming]

443
00:19:57,489 --> 00:19:59,119
They're following the first guy.

444
00:19:59,116 --> 00:20:00,076
Yeah, yeah, yeah.

445
00:20:01,368 --> 00:20:05,408
♪ music intensifying ♪

446
00:20:06,039 --> 00:20:09,789
Whereas the brass, the trumpets,
you'll notice they're a bit more free.

447
00:20:09,793 --> 00:20:11,713
They're a bit more, the lads

448
00:20:11,712 --> 00:20:14,882
Yeah. They tend to have
that personality in real life.

449
00:20:14,882 --> 00:20:16,682
Their personality showed.
[laughs]

450
00:20:16,675 --> 00:20:19,005
Let's listen to the
It's very exciting doing that piece of

451
00:20:19,011 --> 00:20:20,181
Beautiful.

452
00:20:21,722 --> 00:20:23,522
PAUL: So this, uh, John brought it in.

453
00:20:24,308 --> 00:20:26,388
RICK: Yeah.
PAUL: Guitar and vocals.

454
00:20:26,393 --> 00:20:30,613
♪ Day in the Life playing ♪

455
00:20:30,606 --> 00:20:32,936
The Kenwood basses together support it.
Yeah.

456
00:20:33,859 --> 00:20:37,779
JOHN [on recording]:
♪ I read the news today, oh, boy ♪

457
00:20:37,779 --> 00:20:38,779
He's working hard.

458
00:20:38,780 --> 00:20:39,950
Moving again.

459
00:20:39,948 --> 00:20:42,368
♪ About a lucky man ♪

460
00:20:42,367 --> 00:20:44,487
♪ Who made the grade ♪

461
00:20:46,205 --> 00:20:50,205
♪ And though the news
was rather sad ♪

462
00:20:52,211 --> 00:20:55,961
♪ Well, I just had to laugh ♪

463
00:20:58,675 --> 00:21:02,215
♪ I saw the photograph ♪

464
00:21:05,015 --> 00:21:08,765
♪ He blew his mind out in a car ♪

465
00:21:11,146 --> 00:21:15,936
♪ He didn't notice
that the lights had changed ♪

466
00:21:18,111 --> 00:21:18,951
Yeah.

467
00:21:20,489 --> 00:21:23,029
It's, it's just so interesting
that the

468
00:21:23,867 --> 00:21:26,327
Listening to the vocal and the guitar,

469
00:21:26,328 --> 00:21:30,868
it's a very laidback, dreamy energy.
Mmm.

470
00:21:30,874 --> 00:21:31,674
Yeah.

471
00:21:31,667 --> 00:21:33,877
And then the bass comes in
and it's

472
00:21:33,877 --> 00:21:35,747
And the drums. Yeah.
And the drums.

473
00:21:35,754 --> 00:21:38,924
But it's driving in
an entirely different direction

474
00:21:38,924 --> 00:21:40,554
than the song might suggest.

475
00:21:40,551 --> 00:21:41,551
Yeah.

476
00:21:41,552 --> 00:21:43,892
You know, it's great
that I felt that freedom.

477
00:21:43,887 --> 00:21:45,967
Absolutely. Absolutely.

478
00:21:45,973 --> 00:21:48,773
You know, the band was a very free band.
Yeah.

479
00:21:48,767 --> 00:21:50,937
We would allow each other
pretty much anything.

480
00:21:50,936 --> 00:21:51,806
Yeah.

481
00:21:51,812 --> 00:21:54,692
Unless it was, like, really stunk
and it was, like, "Oh no, forget it."

482
00:21:55,232 --> 00:21:58,822
Um, then we'd all gang up
on whoever that was and stop it.

483
00:21:58,819 --> 00:21:59,819
Yeah.

484
00:21:59,820 --> 00:22:02,950
PAUL [on recording]: ♪ Found my way
downstairs and drank a cup ♪

485
00:22:02,948 --> 00:22:04,448
♪ And looking up ♪

486
00:22:04,449 --> 00:22:07,039
And this is
my childhood experiences.

487
00:22:07,035 --> 00:22:09,445
♪ Found my coat
and grabbed my hat ♪

488
00:22:09,454 --> 00:22:11,004
You know, going to school.
Oh.

489
00:22:10,998 --> 00:22:12,708
[singing along]
♪ In seconds flat ♪

490
00:22:12,708 --> 00:22:14,378
I used to go to school
on the bus, you know.

491
00:22:14,376 --> 00:22:17,546
♪ Found my way upstairs
and had a smoke ♪

492
00:22:17,546 --> 00:22:20,126
Maybe I didn't have a smoke
on the way to school.

493
00:22:20,132 --> 00:22:20,922
Yeah.

494
00:22:20,924 --> 00:22:22,014
But
Yeah.

495
00:22:23,302 --> 00:22:25,642
For the purposes
of the song, yeah, exactly, yeah.

496
00:22:26,346 --> 00:22:28,556
Poetic license.
Yep.

497
00:22:28,557 --> 00:22:30,387
♪ vocalizing ♪

498
00:22:30,392 --> 00:22:35,812
Was thatDid you write this piece
to go with what John brought in,

499
00:22:35,814 --> 00:22:36,864
or did you already have this?

500
00:22:36,857 --> 00:22:39,397
No. I already had
the little middle thing. Yeah.

501
00:22:39,401 --> 00:22:41,861
Is this the first time you guys put
two songs together?

502
00:22:41,862 --> 00:22:43,242
Could be.

503
00:22:43,238 --> 00:22:44,908
It makes it new music.

504
00:22:44,907 --> 00:22:48,287
If you just started with what
would ordinarily accompany

505
00:22:48,285 --> 00:22:50,115
that kind of song,
Yeah.

506
00:22:50,120 --> 00:22:53,000
it would be a ballady,
a folky ballad.

507
00:22:52,998 --> 00:22:54,458
Mm. Yeah.

508
00:22:54,458 --> 00:22:56,708
You know?
But to hear it come

509
00:22:56,710 --> 00:22:59,090
in this other direction,
unexpected...

510
00:22:59,087 --> 00:23:00,297
Yeah.

511
00:23:00,297 --> 00:23:03,007
it feels like we've never heard music
like this before by anybody,

512
00:23:03,008 --> 00:23:04,428
you know, that's the thing about it.

513
00:23:04,426 --> 00:23:08,256
It's like it takes
a traditionally written song

514
00:23:08,263 --> 00:23:12,103
and turns it into, essentially,
avant garde music,

515
00:23:12,100 --> 00:23:13,890
even using traditional instruments.

516
00:23:14,394 --> 00:23:17,904
Yeah. Normally, you know,
it sort of worked like that.

517
00:23:17,898 --> 00:23:20,818
You could get away
with a lot of free playing.

518
00:23:20,817 --> 00:23:23,067
♪ piano music playing ♪

519
00:23:23,070 --> 00:23:24,780
RICK: Oh, piano. Who's playing piano,
do you know?

520
00:23:24,780 --> 00:23:26,870
That's got to be me.
[Rick laughs]

521
00:23:27,741 --> 00:23:29,581
It does sound avant garde as well.

522
00:23:29,576 --> 00:23:33,786
♪

523
00:23:37,042 --> 00:23:38,342
Ha!
Wow.

524
00:23:38,335 --> 00:23:40,955
♪ sustained note ♪
Boom!

525
00:23:40,963 --> 00:23:44,343
And then this piano end, this
[plays note]

526
00:23:44,341 --> 00:23:48,011
I'd realized, I'd noticed
that with the piano,

527
00:23:48,011 --> 00:23:49,561
how long,

528
00:23:49,555 --> 00:23:52,015
if you hold down a loud pedal
on the piano,

529
00:23:52,015 --> 00:23:55,385
how long the chord lasts.

530
00:23:55,394 --> 00:23:57,864
And I just do it like
a party piece with friends.

531
00:23:57,855 --> 00:23:59,105
Yeah.
I say, "Listen to this."

532
00:23:59,106 --> 00:24:03,776
♪ plays note ♪

533
00:24:03,777 --> 00:24:08,277
♪

534
00:24:12,286 --> 00:24:15,156
I brought the idea in,
"Hey, man, it goes on forever.

535
00:24:15,163 --> 00:24:19,673
We should do this at the end of a song,
where it's justhave it go on."

536
00:24:19,668 --> 00:24:22,298
And of course, George Martin,
being a clever producer,

537
00:24:22,963 --> 00:24:24,923
magnified the idea.

538
00:24:24,923 --> 00:24:27,763
And he took the raw thing
that I'd showed him.

539
00:24:28,427 --> 00:24:33,097
♪

540
00:24:33,098 --> 00:24:36,848
George then added
another chord on top of it.
Yeah.

541
00:24:38,478 --> 00:24:39,688
But it goes on forever.

542
00:24:39,688 --> 00:24:41,518
A really long time, and if you listen,

543
00:24:41,523 --> 00:24:43,153
it almost sounds like it changes.

544
00:24:43,150 --> 00:24:45,860
Yeah, you start to hear
a little harmonica and things.

545
00:24:45,861 --> 00:24:48,821
Yeah. You know,
there's the magic again.

546
00:24:48,822 --> 00:24:51,912
♪ piano note continues ♪

547
00:24:51,909 --> 00:24:54,999
♪

548
00:24:54,995 --> 00:24:56,905
♪ Oh yeah ♪

549
00:24:56,914 --> 00:24:59,124
♪ Alright ♪

550
00:24:59,124 --> 00:25:02,594
♪ Are you gonna be
in my dreams ♪

551
00:25:02,586 --> 00:25:03,706
♪ Tonight? ♪

552
00:25:05,005 --> 00:25:09,005
♪

553
00:25:26,360 --> 00:25:27,820
♪ Love you ♪

554
00:25:28,320 --> 00:25:29,700
♪ Love you ♪

555
00:25:30,322 --> 00:25:31,662
♪ Love you ♪

556
00:25:32,199 --> 00:25:33,409
♪ Love you ♪

557
00:25:34,117 --> 00:25:35,327
♪ Love you ♪

558
00:25:36,036 --> 00:25:37,286
♪ Love you ♪

559
00:25:38,038 --> 00:25:39,248
♪ Love you ♪

560
00:25:39,957 --> 00:25:41,037
♪ Love you ♪

561
00:25:41,875 --> 00:25:43,245
♪ Love you ♪

562
00:25:43,877 --> 00:25:45,047
♪ Love you ♪

563
00:25:45,838 --> 00:25:47,048
♪ Love you ♪

564
00:25:47,756 --> 00:25:48,966
♪ Love you ♪

565
00:25:49,675 --> 00:25:51,045
♪ Love you ♪

566
00:25:51,593 --> 00:25:52,933
♪ Love you ♪

567
00:25:53,512 --> 00:25:54,722
♪ Love you ♪

568
00:25:55,430 --> 00:25:56,720
♪ Love you ♪

569
00:25:57,057 --> 00:25:58,517
♪ Love you ♪

570
00:25:59,226 --> 00:26:00,556
♪ Love you ♪

571
00:26:01,144 --> 00:26:02,404
♪ Love you ♪

572
00:26:03,063 --> 00:26:04,363
♪ Love you ♪

573
00:26:04,982 --> 00:26:06,072
♪ Love you ♪

574
00:26:06,984 --> 00:26:08,194
♪ Love you ♪

575
00:26:09,069 --> 00:26:10,149
♪ Love you ♪

576
00:26:10,863 --> 00:26:12,073
♪ Love you ♪

577
00:26:13,282 --> 00:26:16,702
♪ piano music playing ♪

578
00:26:16,702 --> 00:26:19,582
♪ And in the end ♪

579
00:26:20,414 --> 00:26:23,384
♪ The love you take ♪

580
00:26:24,084 --> 00:26:28,714
♪ Is equal to the love ♪

581
00:26:30,090 --> 00:26:31,930
♪ You make ♪

582
00:26:31,925 --> 00:26:36,095
♪