1 00:00:04,280 --> 00:00:07,400 [crowd cheering] 2 00:00:07,600 --> 00:00:10,240 -[♪ "Help!" playing] -♪ ...not so self-assured ♪ 3 00:00:10,320 --> 00:00:12,440 ♪ Now I find I've changed my mind ♪ 4 00:00:12,520 --> 00:00:14,720 ♪ I've opened up the doors ♪ 5 00:00:15,000 --> 00:00:19,000 ♪ Help me if you can, I'm feeling down... ♪ 6 00:00:19,520 --> 00:00:24,080 ♪ And I do appreciate you being 'round ♪ 7 00:00:26,480 --> 00:00:27,680 [♪ music concludes] 8 00:00:35,080 --> 00:00:36,960 I mean, we don't know, it may be next week, 9 00:00:37,040 --> 00:00:38,640 it may be two or three years, 10 00:00:38,720 --> 00:00:41,400 but I think we'll be in the business, 11 00:00:41,480 --> 00:00:45,640 either up there or down there, for at least another four years. 12 00:00:46,240 --> 00:00:49,000 You can be big-headed and say, "Yeah, we're gonna last ten years." 13 00:00:49,440 --> 00:00:51,040 But as soon as you've said that, you think, 14 00:00:51,360 --> 00:00:53,480 you know, "We're lucky if we last three months," you know. 15 00:00:53,960 --> 00:00:57,000 Probably, the thing that John and I will do, uh, 16 00:00:57,080 --> 00:00:59,320 will be write songs, as we have been doing, 17 00:00:59,400 --> 00:01:01,040 as a sort of sideline now. 18 00:01:01,280 --> 00:01:02,880 We'll probably develop that a bit more. 19 00:01:03,040 --> 00:01:05,400 But before they showed evidence of that, 20 00:01:05,480 --> 00:01:07,000 I still had to have an album out. 21 00:01:07,600 --> 00:01:10,120 And so what I did was, I mean, I'd been up to the Cavern 22 00:01:10,200 --> 00:01:11,640 and I'd seen what they could do, 23 00:01:11,760 --> 00:01:12,840 I knew their repertoire, 24 00:01:12,920 --> 00:01:14,120 I knew what they were able to perform, 25 00:01:14,800 --> 00:01:17,320 and I said, "Let's record every song you've got. 26 00:01:17,920 --> 00:01:19,120 Come down to the studios, 27 00:01:19,200 --> 00:01:21,080 and we'll just whistle through them in a day." 28 00:01:21,160 --> 00:01:23,120 -[bass guitar noodling] -[George Martin] Here we go. 29 00:01:23,280 --> 00:01:24,280 [John] You 'right? 30 00:01:24,960 --> 00:01:27,680 Get this bloody little mic out the way. [clears throat] 31 00:01:28,040 --> 00:01:29,440 -[Paul] Don't be nervous, John. -[John] I'm not. 32 00:01:29,520 --> 00:01:31,000 [Paul] Don't be nervous. Don't be nervous. 33 00:01:31,360 --> 00:01:32,720 [engineer] Take 7. 34 00:01:32,880 --> 00:01:34,280 [Paul] One, two, three, four! 35 00:01:34,360 --> 00:01:36,520 [♪ "I Saw Her Standing There" playing] 36 00:01:39,360 --> 00:01:42,280 ♪ Well, she was just seventeen ♪ 37 00:01:42,640 --> 00:01:45,360 ♪ You know what I mean ♪ 38 00:01:45,520 --> 00:01:47,040 -[♪ "Chains" playing] -♪ Chains ♪ 39 00:01:47,120 --> 00:01:50,520 ♪ My baby's got me locked up in chains ♪ 40 00:01:50,920 --> 00:01:52,720 [Ringo] But we knew those songs, you see, 41 00:01:52,840 --> 00:01:54,640 because that was the act we did all over the country. 42 00:01:54,760 --> 00:01:57,360 -[♪ "Anna (Go to Him)" playing] -♪ You say he loves you more than me ♪ 43 00:01:57,440 --> 00:01:59,680 ♪ So I will set you free ♪ 44 00:01:59,840 --> 00:02:01,040 ♪ Go with him ♪ 45 00:02:01,200 --> 00:02:03,040 -[♪ "Baby It’s You" playing] -'♪ Cause, baby, it's you ♪ 46 00:02:03,120 --> 00:02:05,400 ♪ Sha-la-la-la-la-la-la ♪ 47 00:02:05,680 --> 00:02:07,320 ♪ Baby, it's you ♪ 48 00:02:07,400 --> 00:02:09,160 ♪ Sha-la-la-la-la-la-la ♪ 49 00:02:09,920 --> 00:02:10,960 ♪ Sha-la-la-la... ♪ 50 00:02:11,040 --> 00:02:12,280 [John] Rock and roll was brand new 51 00:02:12,360 --> 00:02:14,720 when it came out, and excited everybody. 52 00:02:14,800 --> 00:02:16,680 It had roots in blues and jazz. 53 00:02:16,920 --> 00:02:18,360 But you can't say that rock and roll 54 00:02:18,440 --> 00:02:20,520 is like the Twenties music, although if you look for it, 55 00:02:20,600 --> 00:02:22,320 you can find out where it came from. 56 00:02:22,720 --> 00:02:24,680 And you can find out where Beatles music came from, 57 00:02:24,760 --> 00:02:26,000 or any music came from. 58 00:02:26,080 --> 00:02:28,520 It's just like it has its history. 59 00:02:28,600 --> 00:02:31,000 ♪ Oh, it doesn't matter what they say... ♪ 60 00:02:31,080 --> 00:02:32,720 [George Martin] They were always very influenced 61 00:02:32,800 --> 00:02:34,520 by American rhythm and blues. 62 00:02:35,320 --> 00:02:38,280 I think this is probably what the so-called "Beatle sound" was 63 00:02:38,360 --> 00:02:41,000 because maybe they heard the records before we did. 64 00:02:41,520 --> 00:02:43,640 But they knew much more about Motown 65 00:02:43,720 --> 00:02:45,360 -and all the Black music... -[♪ music concludes] 66 00:02:45,520 --> 00:02:47,840 ...much more about it than anybody else did, 67 00:02:48,280 --> 00:02:49,760 and that was a tremendous influence on them. 68 00:02:49,880 --> 00:02:51,240 And the Beatles just carried it 69 00:02:52,440 --> 00:02:54,640 a bit further, made it a little more White 70 00:02:54,720 --> 00:02:57,560 even than Elvis did, because we were English, you know? 71 00:02:57,720 --> 00:03:00,200 -[guitar noodling] -[John] I can... I can 'ardly strum 72 00:03:00,280 --> 00:03:02,920 with all these microphones about here. [chuckles] 73 00:03:03,040 --> 00:03:06,720 -[♪ "Boys" playing] -♪ My girl says when I kiss her lips ♪ 74 00:03:07,360 --> 00:03:09,480 ♪ Gets a thrill through her fingertips ♪ 75 00:03:09,560 --> 00:03:10,600 ♪ Hey, hey ♪ 76 00:03:10,680 --> 00:03:12,880 ♪ Bop shuop, m'bop bop shuop ♪ 77 00:03:12,960 --> 00:03:14,080 ♪ Hey, hey ♪ 78 00:03:14,160 --> 00:03:16,680 ♪ Bop shuop, m'bop bop shuop... ♪ 79 00:03:16,760 --> 00:03:18,160 [George] We'd all say, "Well, what about this?" 80 00:03:18,240 --> 00:03:20,320 "What about this?" 'Cause basically this album 81 00:03:20,400 --> 00:03:23,440 was just what we did live in the clubs. 82 00:03:23,520 --> 00:03:25,360 [engineer] "Do You Want To Know A Secret" Track 2, Take 8. 83 00:03:25,520 --> 00:03:27,160 [John] Shall we just do it on the second verse, 84 00:03:27,240 --> 00:03:28,640 -like we said? -[George] Second and last. 85 00:03:28,720 --> 00:03:30,720 -[George Martin] Just the second verse. -[John] Okay. So we wait. 86 00:03:30,800 --> 00:03:32,160 [♪ "Do You Want To Know A Secret" playing] 87 00:03:32,240 --> 00:03:33,280 ♪ Listen ♪ 88 00:03:34,640 --> 00:03:36,840 ♪ Do you want to know a secret? ♪ 89 00:03:38,440 --> 00:03:40,760 ♪ Do you promise not to tell? ♪ 90 00:03:41,400 --> 00:03:43,360 ♪ Whoa, oh, oh ♪ 91 00:03:43,440 --> 00:03:44,440 ♪ Closer... ♪ 92 00:03:44,520 --> 00:03:46,360 [John] The first album was recorded in a-- 93 00:03:46,440 --> 00:03:48,920 one long 12-hour session, 94 00:03:49,320 --> 00:03:53,080 which the... the last song to be done was a song called 95 00:03:53,160 --> 00:03:54,960 "Twist And Shout", which nearly killed me. 96 00:03:55,040 --> 00:03:56,240 -[♪ music concludes] -You can hear that... 97 00:03:56,360 --> 00:03:57,760 I'm just some frantic guy, 98 00:03:58,000 --> 00:03:59,600 you know, doin' his best, 99 00:03:59,760 --> 00:04:01,240 but it's about the nearest it could get 100 00:04:01,320 --> 00:04:04,120 to knowing what we sounded like before we became 101 00:04:04,200 --> 00:04:05,440 the clever Beatles. 102 00:04:05,640 --> 00:04:07,840 -[♪ "Twist And Shout" playing] -♪ Well, shake it up, baby, now ♪ 103 00:04:07,920 --> 00:04:09,280 ♪ Shake it up, baby ♪ 104 00:04:09,440 --> 00:04:10,960 ♪ Twist and shout... ♪ 105 00:04:11,040 --> 00:04:13,680 [Paul] John had to save "Twist And Shout" 106 00:04:13,840 --> 00:04:16,800 till the last, and he was sucking Zubes all day, 107 00:04:16,920 --> 00:04:18,040 those little throat tablets. 108 00:04:18,120 --> 00:04:20,480 And he finally had to do "Twist And Shout", 109 00:04:20,600 --> 00:04:22,640 knowing he had to do it last 'cause it would just rip 110 00:04:22,800 --> 00:04:24,400 his throat apart to do it. It was great. 111 00:04:24,520 --> 00:04:26,080 You can still hear that on the record. 112 00:04:26,240 --> 00:04:27,640 ♪ Look so good ♪ 113 00:04:27,720 --> 00:04:30,080 ♪ You know you got me going, now ♪ 114 00:04:30,160 --> 00:04:31,280 ♪ Got me going ♪ 115 00:04:31,440 --> 00:04:33,240 ♪ Just like I knew you would ♪ 116 00:04:33,600 --> 00:04:35,640 ♪ Like I knew you would, ooh ♪ 117 00:04:35,720 --> 00:04:37,600 ♪ Well, shake it up, baby, now ♪ 118 00:04:37,680 --> 00:04:39,280 ♪ Shake it up, baby ♪ 119 00:04:39,640 --> 00:04:41,200 ♪ Twist and shout ♪ 120 00:04:41,520 --> 00:04:42,680 ♪ Twist and shout ♪ 121 00:04:42,760 --> 00:04:45,520 ♪ Come on, come on, come on, come on, baby, now ♪ 122 00:04:45,640 --> 00:04:46,920 ♪ Come on, baby ♪ 123 00:04:47,040 --> 00:04:48,560 ♪ Come on and work it on out ♪ 124 00:04:49,240 --> 00:04:50,680 ♪ Work it on out, ooh ♪ 125 00:04:50,760 --> 00:04:52,240 ♪ You know you twist, you little girl ♪ 126 00:04:52,320 --> 00:04:53,840 ♪ Twist, little girl ♪ 127 00:04:54,120 --> 00:04:56,320 ♪ You know you twist so fine ♪ 128 00:04:56,600 --> 00:04:57,640 ♪ Twist so fine ♪ 129 00:04:57,720 --> 00:05:00,320 ♪ Come on and twist a little closer, now ♪ 130 00:05:00,480 --> 00:05:01,880 ♪ Twist a little closer ♪ 131 00:05:02,040 --> 00:05:04,160 ♪ And let me know that you're mine ♪ 132 00:05:04,320 --> 00:05:07,320 ♪ Let me know you're mine, ooh ♪ 133 00:05:23,200 --> 00:05:24,880 ♪ Ah ♪ 134 00:05:25,240 --> 00:05:26,960 ♪ Ah ♪ 135 00:05:27,200 --> 00:05:28,840 ♪ Ah ♪ 136 00:05:29,200 --> 00:05:30,720 ♪ Ah ♪ 137 00:05:30,800 --> 00:05:32,520 ♪ Whaah! ♪ 138 00:05:32,840 --> 00:05:34,680 ♪ Yeah! ♪ 139 00:05:34,760 --> 00:05:35,880 ♪ Baby, now ♪ 140 00:05:35,960 --> 00:05:37,640 ♪ Shake it up, baby ♪ 141 00:05:38,000 --> 00:05:39,440 ♪ Twist and shout ♪ 142 00:05:39,560 --> 00:05:40,720 ♪ Twist and shout ♪ 143 00:05:41,120 --> 00:05:44,000 ♪ Come on, come on, come on, come on, baby, now ♪ 144 00:05:44,080 --> 00:05:45,360 ♪ Come on, baby ♪ 145 00:05:45,520 --> 00:05:47,040 ♪ Come on and work it on out ♪ 146 00:05:47,200 --> 00:05:48,680 ♪ Work it on out, ooh ♪ 147 00:05:48,760 --> 00:05:50,720 ♪ You know you twist, you little girl ♪ 148 00:05:51,040 --> 00:05:52,480 ♪ Twist, little girl ♪ 149 00:05:52,560 --> 00:05:54,800 ♪ You know you twist so fine ♪ 150 00:05:54,880 --> 00:05:56,360 ♪ Twist so fine ♪ 151 00:05:56,440 --> 00:05:58,840 ♪ Come on and twist a little closer, now ♪ 152 00:05:58,920 --> 00:06:00,200 ♪ Twist a little closer ♪ 153 00:06:00,280 --> 00:06:02,680 ♪ And let me know that you're mine ♪ 154 00:06:02,760 --> 00:06:04,280 ♪ Let me know you're mine, ooh! ♪ 155 00:06:04,400 --> 00:06:06,600 ♪ Well, shake it, shake it, shake it, baby, now ♪ 156 00:06:06,680 --> 00:06:08,000 ♪ Shake it up, baby ♪ 157 00:06:08,120 --> 00:06:10,480 ♪ Well, shake it, shake it, shake it, baby, now ♪ 158 00:06:10,560 --> 00:06:12,080 ♪ Shake it up, baby ♪ 159 00:06:12,160 --> 00:06:14,360 ♪ Well, shake it, shake it, shake it, baby, now ♪ 160 00:06:14,480 --> 00:06:16,080 ♪ Shake it up, baby ♪ 161 00:06:17,280 --> 00:06:18,920 ♪ Ah ♪ 162 00:06:19,000 --> 00:06:21,360 ♪ Ah ♪ 163 00:06:21,480 --> 00:06:23,880 ♪ Ah ♪ 164 00:06:27,440 --> 00:06:29,240 [George Martin] We started at 10 o'clock in the morning, 165 00:06:29,320 --> 00:06:32,080 finished 11 at night. And that was the record made. 166 00:06:33,080 --> 00:06:34,240 [Paul] That's it. It's a master. 167 00:06:34,320 --> 00:06:35,320 [♪ music concludes] 168 00:06:35,400 --> 00:06:37,000 [Neil Aspinall] When we used to... to tour, 169 00:06:37,120 --> 00:06:40,320 do those, um, Arthur Howe touring shows 170 00:06:40,400 --> 00:06:42,680 where you'd have quite a number of people on the bill, 171 00:06:42,760 --> 00:06:46,320 you know, Roy Orbison, Tommy Roe, 172 00:06:46,920 --> 00:06:48,720 Gerry and the Pacemakers... 173 00:06:50,520 --> 00:06:52,560 um, Helen Shapiro, whoever. 174 00:06:52,640 --> 00:06:54,360 But there'd be a number of people on the bill, 175 00:06:54,440 --> 00:06:57,360 and everybody got like 12 minutes, 15 minutes, 176 00:06:57,440 --> 00:06:59,360 -20 minutes, whatever. -[♪ "Look Who It Is" playing] 177 00:06:59,480 --> 00:07:01,400 And it was really just in that length of time, 178 00:07:01,480 --> 00:07:04,560 you know, all anybody could do was, uh, plug their hit records, 179 00:07:04,640 --> 00:07:06,800 the ones that the... the audience, uh, 180 00:07:07,000 --> 00:07:08,000 the audience knew. 181 00:07:08,160 --> 00:07:10,480 With Helen Shapiro it was really embarrassing, 182 00:07:10,560 --> 00:07:11,760 'cause we were quite happy 183 00:07:11,840 --> 00:07:14,360 just to be on a first nationwide tour 184 00:07:14,440 --> 00:07:15,880 of the proper theatres. 185 00:07:16,840 --> 00:07:18,480 She was kind of established. 186 00:07:18,560 --> 00:07:20,640 She'd been around and had a bunch of hits 187 00:07:20,720 --> 00:07:23,160 and we were quite happy just to be on that tour. 188 00:07:23,240 --> 00:07:24,880 But it was embarrassing 'cause I think 189 00:07:24,960 --> 00:07:26,720 "Please Please Me" got to No. 1, 190 00:07:27,080 --> 00:07:28,760 right, while we were on the road. 191 00:07:29,440 --> 00:07:32,440 And all the people coming to the show, um, 192 00:07:32,520 --> 00:07:33,880 and in the concert, were just waiting 193 00:07:33,960 --> 00:07:36,960 for the Beatles and, uh, it was kind of embarrassing, 194 00:07:37,320 --> 00:07:39,160 'cause she was very nice, nice person. 195 00:07:39,240 --> 00:07:40,960 -[♪ music concludes] -I think it was the tour after that... 196 00:07:42,120 --> 00:07:44,280 -when it was Tommy Roe... -[♪ "Thank You Girl" playing] 197 00:07:44,360 --> 00:07:46,920 ...and Chris Montez and the Beatles, 198 00:07:47,680 --> 00:07:50,000 they moved us to being, you know, 199 00:07:50,080 --> 00:07:52,280 actually closing the first half of the show. 200 00:07:52,360 --> 00:07:54,600 [John] We were performers in Liverpool, Hamburg 201 00:07:54,680 --> 00:07:57,760 and other dance halls, you know, and what we generated 202 00:07:58,120 --> 00:08:00,000 -was fantastic. -[♪ music concludes] 203 00:08:00,080 --> 00:08:02,320 And there was nobody to touch us in Britain. 204 00:08:02,400 --> 00:08:04,880 -[♪ "There's A Place" playing] -♪ There's a place ♪ 205 00:08:05,560 --> 00:08:08,200 ♪ Where I can go... ♪ 206 00:08:08,520 --> 00:08:10,080 [Ringo] We never stopped anywhere. 207 00:08:10,800 --> 00:08:12,680 You know, if we were in Elgin 208 00:08:13,720 --> 00:08:15,160 on a Thursday 209 00:08:15,920 --> 00:08:19,320 and, uh, we needed to be in, like, Portsmouth 210 00:08:19,400 --> 00:08:22,480 on Friday, you would just drive. 211 00:08:23,200 --> 00:08:25,360 You know, we didn't know how to stop this van. 212 00:08:25,840 --> 00:08:30,000 ♪ I think of you... ♪ 213 00:08:30,080 --> 00:08:32,840 [Ringo] Neil'd drive and there'd be the passenger seat, 214 00:08:32,920 --> 00:08:35,920 and then the three of us'd sit on the bench seat, 215 00:08:36,360 --> 00:08:37,880 whichever three, you know. 216 00:08:37,960 --> 00:08:41,640 But the rest of us... [chuckles] ...would sit on this bench seat, 217 00:08:41,720 --> 00:08:43,120 which was pretty miserable. 218 00:08:43,240 --> 00:08:45,600 And we would just go everywhere in this van, 219 00:08:45,840 --> 00:08:47,640 and the kit would, you know, and the amps, 220 00:08:47,720 --> 00:08:51,360 everything would fit in it. Some nights it was so foggy 221 00:08:51,600 --> 00:08:53,800 that you would be doing at one mile an hour, 222 00:08:54,360 --> 00:08:57,760 and you'd still just keep going. 223 00:08:57,840 --> 00:09:00,280 It was like, you know, we were like homing pigeons. 224 00:09:00,680 --> 00:09:02,480 We just had to keep getting home. 225 00:09:02,920 --> 00:09:05,120 [George] We knew this guy, Mal, 'cause he used to come, 226 00:09:05,200 --> 00:09:07,240 he worked for the GPO, and he used to come 227 00:09:07,440 --> 00:09:09,640 and be a part-time bouncer on the Cavern. 228 00:09:10,240 --> 00:09:13,000 We got to know him and, uh, it was somebody suggested 229 00:09:13,080 --> 00:09:14,240 he drive for us, 230 00:09:14,560 --> 00:09:17,280 so he drove us a couple of times when Neil couldn't make it. 231 00:09:17,360 --> 00:09:19,320 And then there was so much happening 232 00:09:19,400 --> 00:09:20,920 we needed another person, 233 00:09:21,000 --> 00:09:22,760 so we just employed him full time. 234 00:09:22,840 --> 00:09:25,160 [Paul] I do remember, however, one... one moment, 235 00:09:25,560 --> 00:09:26,720 uh, we were going up the motorway, 236 00:09:26,800 --> 00:09:29,000 and the... the windscreen got knocked out by a pebble. 237 00:09:29,280 --> 00:09:32,160 So Mal just put his hat on backwards... vzzz! 238 00:09:32,520 --> 00:09:34,960 ...punched the windscreen out completely 239 00:09:35,280 --> 00:09:38,080 and, like, drove, you know. But, of course, this was winter 240 00:09:38,160 --> 00:09:41,080 in Britain, and it was freezing. And because it was foggy, 241 00:09:41,160 --> 00:09:43,240 he was having to look for the curb all the time, 242 00:09:43,320 --> 00:09:46,320 all the way up to Liverpool, you know, it's like 200 mile. 243 00:09:46,680 --> 00:09:49,200 [clears throat] So we were very, very cold. 244 00:09:49,480 --> 00:09:53,360 And I remember what we did was we, we lay on each other... 245 00:09:54,000 --> 00:09:55,320 ...with a bottle of whisky. 246 00:09:55,920 --> 00:09:58,880 And then when the one on the top got so cold 247 00:09:58,960 --> 00:10:02,480 it was, like, hypothermia was setting in... 248 00:10:02,560 --> 00:10:05,400 [laughs] ...it was his turn to get on the bottom, 249 00:10:05,640 --> 00:10:07,760 and then, you know, we'd warm each other up 250 00:10:07,840 --> 00:10:10,080 that way, and keep swigging the whisky. 251 00:10:10,240 --> 00:10:11,880 But it was quite an image, you know, 252 00:10:11,960 --> 00:10:13,240 if-- You know, you'd think, you know, 253 00:10:13,320 --> 00:10:15,840 people think "stardom" and "it's glamorous", you know. 254 00:10:15,920 --> 00:10:17,520 And there's us, freezing, 255 00:10:17,600 --> 00:10:20,400 lying literally on top of each other. [chuckles] 256 00:10:21,040 --> 00:10:22,560 Oh yeah, we were tight. 257 00:10:22,880 --> 00:10:24,960 That was one thing to be said about us. 258 00:10:25,040 --> 00:10:27,960 We were really tight, you know, as friends. 259 00:10:28,200 --> 00:10:30,320 We could argue a lot amongst ourselves, 260 00:10:30,400 --> 00:10:33,200 but we were very, very close to each other. 261 00:10:33,320 --> 00:10:35,320 -[♪ "It Won't Be Long" playing] -♪ It won't be long, yeah ♪ 262 00:10:35,400 --> 00:10:36,720 ♪ Yeah, yeah ♪ 263 00:10:36,800 --> 00:10:40,320 ♪ It won't be long, yeah, yeah, yeah ♪ 264 00:10:40,400 --> 00:10:42,240 ♪ It won't be long, yeah ♪ 265 00:10:42,400 --> 00:10:45,520 ♪ Till I belong to you ♪ 266 00:10:48,480 --> 00:10:52,080 ♪ Every night when everybody has fun ♪ 267 00:10:53,680 --> 00:10:57,200 ♪ Here am I, sitting all on my own ♪ 268 00:10:59,840 --> 00:11:03,160 ♪ It won't be long, yeah, yeah, yeah ♪ 269 00:11:03,280 --> 00:11:06,800 ♪ It won't be long, yeah, yeah, yeah ♪ 270 00:11:06,960 --> 00:11:08,840 ♪ It won't be long, yeah ♪ 271 00:11:08,960 --> 00:11:11,880 ♪ Till I belong to you ♪ 272 00:11:14,160 --> 00:11:17,720 ♪ Since you left me, I'm so alone ♪ 273 00:11:17,800 --> 00:11:21,760 ♪ Now you're coming, you're coming on home ♪ 274 00:11:21,960 --> 00:11:24,640 ♪ I'll be good like I know I should ♪ 275 00:11:24,800 --> 00:11:28,120 ♪ You're coming home, you're coming home ♪ 276 00:11:29,480 --> 00:11:33,560 ♪ Every night the tears come down from my eyes ♪ 277 00:11:34,840 --> 00:11:38,760 ♪ Every day I've done nothing but cry ♪ 278 00:11:41,040 --> 00:11:44,160 ♪ It won't be long, yeah, yeah, yeah ♪ 279 00:11:44,520 --> 00:11:48,200 ♪ It won't be long, yeah, yeah, yeah ♪ 280 00:11:48,280 --> 00:11:50,240 ♪ It won't be long, yeah ♪ 281 00:11:50,360 --> 00:11:53,480 ♪ Till I belong to you ♪ 282 00:11:55,480 --> 00:11:59,200 ♪ Well, since you left me, I'm so alone ♪ 283 00:11:59,280 --> 00:12:02,880 ♪ Now you're coming, you're coming on home ♪ 284 00:12:03,440 --> 00:12:06,120 ♪ I'll be good like I know I should ♪ 285 00:12:06,280 --> 00:12:09,960 ♪ You're coming home, you're coming home ♪ 286 00:12:10,040 --> 00:12:14,720 ♪ So every day we'll be happy, I know ♪ 287 00:12:16,400 --> 00:12:20,320 ♪ Now I know that you won't leave me no more ♪ 288 00:12:22,560 --> 00:12:26,080 ♪ It won't be long, yeah, yeah, yeah ♪ 289 00:12:26,280 --> 00:12:29,560 ♪ It won't be long, yeah, yeah ♪ 290 00:12:29,640 --> 00:12:31,760 ♪ It won't be long, yeah ♪ 291 00:12:32,040 --> 00:12:38,400 ♪ Till I belong to you ♪ 292 00:12:41,920 --> 00:12:42,960 [♪ music concludes] 293 00:12:43,200 --> 00:12:45,640 One of the things I was grateful for was that 294 00:12:45,800 --> 00:12:48,360 -we had a kind of staircase... -[♪ "I'll Be On My Way" playing] 295 00:12:48,520 --> 00:12:50,360 ...to climb, through clubs like the Cavern, 296 00:12:50,800 --> 00:12:54,320 through, uh, up to ballrooms, which were now instead of... 297 00:12:54,400 --> 00:12:56,080 -[crowd cheering] -...400, 500 people, 298 00:12:56,160 --> 00:12:57,960 it was now a couple of thousand people. 299 00:12:58,480 --> 00:13:01,080 Then it was like, "Well, what's left?" Well, uh, radio. 300 00:13:01,800 --> 00:13:03,720 We wanted to be on the Saturday Morning Club 301 00:13:04,000 --> 00:13:06,440 Brian Matthews did, which was a huge show. 302 00:13:06,520 --> 00:13:08,400 And the great thing I loved about the show 303 00:13:08,480 --> 00:13:11,080 was you'd wake up after your week of school, 304 00:13:11,160 --> 00:13:13,080 or whatever it was, and you'd lie in. 305 00:13:13,600 --> 00:13:15,120 And I had a radio by my bed, 306 00:13:15,200 --> 00:13:17,360 and I'd lie in until about 11:00. 307 00:13:17,880 --> 00:13:21,040 Great! The most delicious lie-in ever of your life, 308 00:13:21,120 --> 00:13:23,280 you know, those teenage lie-ins, Saturday. 309 00:13:24,080 --> 00:13:26,800 Lie in, and feeling great. Turn the radio on, and this... 310 00:13:26,880 --> 00:13:29,440 this program would be on there still for another hour, 311 00:13:29,920 --> 00:13:30,920 Saturday Club. 312 00:13:31,000 --> 00:13:32,680 So then we really wanted to be on that. 313 00:13:32,760 --> 00:13:34,200 That was-- We knew that there were-- 314 00:13:34,320 --> 00:13:37,400 people listened to that. It was a huge, um, audience. 315 00:13:37,520 --> 00:13:38,840 [John] We did a lot of tracks 316 00:13:38,920 --> 00:13:40,760 that were never recorded on record 317 00:13:40,840 --> 00:13:42,640 -for Saturday Club... -[♪ "Lonesome Tears In My Eyes" playing] 318 00:13:42,720 --> 00:13:43,800 ...a lot of stuff we'd been doing 319 00:13:43,880 --> 00:13:45,320 at the Cavern or Hamburg, you know. 320 00:13:45,400 --> 00:13:47,760 There was some good stuff, and they were well-recorded too. 321 00:13:48,160 --> 00:13:50,440 ♪ Oh baby, baby, baby, blues and sorrow ♪ 322 00:13:50,520 --> 00:13:51,880 ♪ And I love you tomorrow ♪ 323 00:13:51,960 --> 00:13:53,400 ♪ Just suit you just fine ♪ 324 00:13:53,960 --> 00:13:56,400 ♪ Oh baby, baby, baby, blues and sorrow ♪ 325 00:13:56,480 --> 00:13:57,720 ♪ I love you tomorrow ♪ 326 00:13:57,800 --> 00:13:59,280 ♪ Just suit you just fine ♪ 327 00:13:59,720 --> 00:14:02,360 ♪ I can't forget that you told me ♪ 328 00:14:02,600 --> 00:14:04,640 ♪ So many promising lies ♪ 329 00:14:05,280 --> 00:14:08,240 ♪ I'm a-tryin' to forget these ♪ 330 00:14:08,400 --> 00:14:10,360 ♪ Lonesome tears in my eyes ♪ 331 00:14:11,120 --> 00:14:12,640 [♪ "So How Come (No One Loves Me)" playing] 332 00:14:12,720 --> 00:14:14,040 ♪ They say that everyone ♪ 333 00:14:15,120 --> 00:14:17,160 ♪ wants someone ♪ 334 00:14:18,160 --> 00:14:23,800 ♪ So how come no one wants me? ♪ 335 00:14:24,880 --> 00:14:27,360 ♪ And they say that everyone ♪ 336 00:14:28,720 --> 00:14:30,560 ♪ needs someone ♪ 337 00:14:31,600 --> 00:14:33,840 ♪ So how come no one ♪ 338 00:14:35,240 --> 00:14:37,120 ♪ needs me? ♪ 339 00:14:39,000 --> 00:14:41,520 ♪ Well, if you wonder who the loneliest creatures ♪ 340 00:14:41,600 --> 00:14:43,680 ♪ in the world can be ♪ 341 00:14:45,680 --> 00:14:47,800 ♪ Well, they're the ugly duckling ♪ 342 00:14:47,880 --> 00:14:51,680 ♪ the little black sheep and me, uh-huh ♪ 343 00:14:51,760 --> 00:14:53,240 -[♪ music concludes] -[John] ♪ We come along ♪ 344 00:14:53,320 --> 00:14:55,040 ♪ on Saturday morning ♪ 345 00:14:55,120 --> 00:14:58,400 ♪ Greeting everybody with a smile ♪ [laughs] 346 00:14:58,480 --> 00:15:00,840 [Brian Matthew] Isn't that nice? Thank you, dear Beatles. 347 00:15:01,040 --> 00:15:02,640 I heard they were coming to Manchester Odeon 348 00:15:02,720 --> 00:15:05,120 and I'd-- uh, the Odeon Cinema. 349 00:15:06,120 --> 00:15:09,520 And we didn't cover-- we "theatre critics" so called, 350 00:15:09,600 --> 00:15:11,760 didn't cover one-night stands of pop stars 351 00:15:11,920 --> 00:15:14,280 because there was no... there was no continuity. 352 00:15:14,520 --> 00:15:17,680 But, anyway, I bought tickets at a pound each, I think, 353 00:15:17,840 --> 00:15:20,240 and Gerry and the Pacemakers had been on before, 354 00:15:20,320 --> 00:15:21,560 and Roy Orbison 355 00:15:21,640 --> 00:15:23,480 -preceded the Beatles. -[♪ "Oh, Pretty Woman" playing] 356 00:15:23,640 --> 00:15:26,080 ♪ 'Cause I need you ♪ 357 00:15:26,520 --> 00:15:29,800 ♪ I'll treat you right ♪ 358 00:15:30,280 --> 00:15:33,480 ♪ Come with me, baby ♪ 359 00:15:34,040 --> 00:15:41,040 ♪ Be mine tonight ♪ 360 00:15:42,560 --> 00:15:43,720 ♪ Pretty woman... ♪ 361 00:15:43,800 --> 00:15:45,680 [John] It was pretty hard to keep up with that man. 362 00:15:45,760 --> 00:15:47,360 He really put on a show, you know? 363 00:15:47,680 --> 00:15:50,920 Well, they all did, but Orbison had that fantastic voice. 364 00:15:51,120 --> 00:15:53,040 [Paul] I remember we'd be on the tour bus, 365 00:15:53,120 --> 00:15:54,960 and Roy would be at the back of the bus. 366 00:15:55,040 --> 00:15:57,000 He'd be writing something like "Pretty Woman", or something. 367 00:15:57,080 --> 00:15:58,240 I remember him playing that to us. 368 00:15:58,320 --> 00:16:00,240 We said... [inhales sharply] ..."Great song." 369 00:16:00,520 --> 00:16:02,400 From this, a little bit of competitiveness 370 00:16:02,480 --> 00:16:03,920 would come in, a little bit of competition, 371 00:16:04,000 --> 00:16:05,280 'cause we'd think, "We've got to write one 372 00:16:05,360 --> 00:16:06,720 -as good as that." -[♪ music concludes] 373 00:16:06,880 --> 00:16:10,040 So we were just trying to improve all the time. 374 00:16:10,120 --> 00:16:13,000 And we'd listen to something that somebody else had done 375 00:16:13,080 --> 00:16:14,480 and we'd just try and beat it a bit. 376 00:16:14,560 --> 00:16:16,000 We'd try and beat what we were doing. 377 00:16:16,360 --> 00:16:18,840 And, I mean, by the time we got to something 378 00:16:18,920 --> 00:16:21,400 like "From Me To You", it was nice, 379 00:16:21,480 --> 00:16:23,760 'cause the... the... I remember being very pleased 380 00:16:23,840 --> 00:16:25,080 with the chord in the middle, 381 00:16:25,160 --> 00:16:26,600 which was different from what we'd been using. 382 00:16:26,680 --> 00:16:27,920 ♪ If there's anything that you want ♪ 383 00:16:28,000 --> 00:16:29,160 And then it went... 384 00:16:29,800 --> 00:16:33,240 ♪ ...arms that long to hold you and keep you, da da da ♪ 385 00:16:33,320 --> 00:16:35,240 Just that... ♪ Arms that long... ♪ 386 00:16:35,320 --> 00:16:37,960 Going to that minor chord there, was like, "Ooh!" 387 00:16:38,040 --> 00:16:39,800 You know, this is something we hadn't done before. 388 00:16:39,920 --> 00:16:43,560 -[♪ "From Me To You" playing] -♪ I got arms that long to hold you ♪ 389 00:16:43,640 --> 00:16:46,560 ♪ And keep you by my side ♪ 390 00:16:46,840 --> 00:16:50,400 ♪ I got lips that long to kiss you ♪ 391 00:16:50,720 --> 00:16:53,800 ♪ And keep you satisfied, ooh! ♪ 392 00:16:54,080 --> 00:16:56,440 ♪ If there's anything that you want ♪ 393 00:16:57,320 --> 00:17:00,320 ♪ If there's anything I can do ♪ 394 00:17:00,920 --> 00:17:04,080 ♪ Just call on me and I'll send it along ♪ 395 00:17:04,440 --> 00:17:07,280 ♪ With love from me to you ♪ 396 00:17:07,920 --> 00:17:09,440 ♪ To you ♪ 397 00:17:09,640 --> 00:17:11,240 ♪ To you ♪ 398 00:17:11,360 --> 00:17:13,440 ♪ To you ♪ 399 00:17:15,640 --> 00:17:17,640 You'd always know when they were gonna be on the radio. 400 00:17:17,720 --> 00:17:18,720 [♪ music concludes] 401 00:17:18,800 --> 00:17:21,040 And so, you know, Brian is, "Oh, it's gonna be on at..." 402 00:17:21,120 --> 00:17:23,240 "Hello, boys. It's going to be on at twenty past seven." 403 00:17:23,320 --> 00:17:25,560 [laughs] And we'd all be in the car, 404 00:17:25,640 --> 00:17:28,360 and we'd stop! Wherever we were we would hope, 405 00:17:28,440 --> 00:17:29,520 so we could listen to this. 406 00:17:29,600 --> 00:17:31,400 -[♪ "From Me To You" playing] -♪ Just call on me ♪ 407 00:17:31,480 --> 00:17:33,120 ♪ And I'll send it along ♪ 408 00:17:33,200 --> 00:17:35,400 ♪ With love from me to you... ♪ 409 00:17:35,560 --> 00:17:37,640 [Brian Matthew] The Beatles and "From Me To You". 410 00:17:37,720 --> 00:17:40,000 Their third single release which, incidentally, 411 00:17:40,080 --> 00:17:42,320 is this week sitting at the top of the Hit Parade. 412 00:17:46,240 --> 00:17:48,000 -[♪ music concludes] -And the other great deal was every time 413 00:17:48,080 --> 00:17:49,280 it moved in the charts, 414 00:17:49,360 --> 00:17:52,360 we'd have a celebratory dinner, you know, so... 415 00:17:52,840 --> 00:17:55,000 You notice, uh, if you look at the Beatles 416 00:17:55,080 --> 00:17:57,240 from when they started, in the first 18 months 417 00:17:57,320 --> 00:17:58,640 they went... [imitates inflating] 418 00:17:58,720 --> 00:18:00,840 They just went blumph right up, 419 00:18:01,200 --> 00:18:02,880 because we were eating all this food. 420 00:18:03,800 --> 00:18:05,240 That's when I discovered smoked salmon. 421 00:18:05,320 --> 00:18:07,840 Never had any salmon that didn't come out of a tin 422 00:18:07,920 --> 00:18:09,760 until I was 22! [laughs] 423 00:18:10,120 --> 00:18:12,520 [John] In the early days, we'd make a record in 12 hours, 424 00:18:12,600 --> 00:18:13,920 -or something. -[♪ "Thank You Girl" playing] 425 00:18:14,000 --> 00:18:15,440 [John] And they'd want a single every three months. 426 00:18:15,520 --> 00:18:17,840 And we'd have to be writing it literally in the hotel 427 00:18:17,920 --> 00:18:21,320 or on-- in a van. The demand on us was tremendous. 428 00:18:21,400 --> 00:18:22,840 ♪ ...been good to me... ♪ 429 00:18:22,920 --> 00:18:25,120 [Paul] I remember sitting on a pair of twin beds 430 00:18:25,200 --> 00:18:26,480 in a hotel bedroom. 431 00:18:26,760 --> 00:18:29,480 Had a day off, so we were going to write a song. 432 00:18:29,920 --> 00:18:31,920 All our early songs had always had-- 433 00:18:32,360 --> 00:18:35,280 "Please Please Me", "From Me To You", 434 00:18:35,440 --> 00:18:36,800 "P.S. I Love You", 435 00:18:36,880 --> 00:18:39,840 they'd always had this very personal thing, 436 00:18:39,920 --> 00:18:41,040 "Thank You Girl". 437 00:18:41,560 --> 00:18:44,760 And we hit on the idea of doing a kind of reported conversation. 438 00:18:44,920 --> 00:18:46,160 "I saw her yesterday. 439 00:18:46,280 --> 00:18:49,160 She told me what to say. She said she loves you!" 440 00:18:49,320 --> 00:18:51,840 So it just gave us another little dimension, really. 441 00:18:51,960 --> 00:18:54,920 It just meant that the song then was something different 442 00:18:55,000 --> 00:18:56,280 from what we, and other people, 443 00:18:56,360 --> 00:18:57,520 -had written before. -[♪ music concludes] 444 00:18:57,640 --> 00:18:59,040 -[crowd cheering] -[Brian Matthew] I have it 445 00:18:59,120 --> 00:19:01,160 from a reliable source that a half million 446 00:19:01,240 --> 00:19:02,680 advance orders have been made 447 00:19:02,760 --> 00:19:04,480 for the Beatles' latest single release, 448 00:19:04,560 --> 00:19:05,880 -"She Loves You". -[crowd screaming, cheering] 449 00:19:06,000 --> 00:19:07,480 It looks as though it could well be 450 00:19:07,560 --> 00:19:10,080 three No. 1s in a row for the Liverpool boys. 451 00:19:10,160 --> 00:19:14,960 [crowd screaming, cheering] 452 00:19:15,080 --> 00:19:17,560 -It's called "She Loves You". Ha-ha! -[♪ "She Loves You" playing] 453 00:19:17,640 --> 00:19:20,480 ♪ She loves you, yeah, yeah, yeah ♪ 454 00:19:20,560 --> 00:19:23,440 ♪ She loves you, yeah, yeah, yeah ♪ 455 00:19:23,760 --> 00:19:26,720 ♪ She loves you, yeah, yeah, yeah ♪ 456 00:19:26,880 --> 00:19:28,880 ♪ Yeah ♪ 457 00:19:29,880 --> 00:19:32,280 ♪ You think you've lost your love ♪ 458 00:19:32,640 --> 00:19:35,720 ♪ Well, I saw her yesterday ♪ 459 00:19:35,800 --> 00:19:38,360 -[screams] -♪ It's you she's thinking of ♪ 460 00:19:38,880 --> 00:19:41,880 ♪ And she told me what to say ♪ 461 00:19:41,960 --> 00:19:43,520 ♪ She said she loves you ♪ 462 00:19:43,640 --> 00:19:47,320 ♪ And you know that can't be bad ♪ 463 00:19:48,360 --> 00:19:49,680 ♪ She loves you ♪ 464 00:19:49,760 --> 00:19:52,720 ♪ And you know you should be glad ♪ 465 00:19:54,680 --> 00:19:57,080 ♪ She said you hurt her so ♪ 466 00:19:57,640 --> 00:20:00,400 ♪ She almost lost her mind ♪ 467 00:20:00,840 --> 00:20:03,320 ♪ Now she says she knows ♪ 468 00:20:03,760 --> 00:20:06,560 ♪ You're not the hurting kind ♪ 469 00:20:06,640 --> 00:20:08,120 ♪ She said she loves you ♪ 470 00:20:08,200 --> 00:20:11,320 ♪ And you know that can't be bad ♪ 471 00:20:13,160 --> 00:20:14,400 ♪ She loves you ♪ 472 00:20:14,480 --> 00:20:17,520 ♪ And you know you should be glad ♪ 473 00:20:17,600 --> 00:20:19,040 ♪ Ooh! ♪ 474 00:20:19,120 --> 00:20:21,800 ♪ She loves you, yeah, yeah, yeah ♪ 475 00:20:22,240 --> 00:20:25,000 ♪ She loves you, yeah, yeah, yeah ♪ 476 00:20:25,120 --> 00:20:29,560 ♪ With a love like that, you know you should be glad ♪ 477 00:20:31,600 --> 00:20:34,120 ♪ You know, it's up to you ♪ 478 00:20:34,480 --> 00:20:37,320 ♪ I think it's only fair ♪ 479 00:20:37,480 --> 00:20:40,120 ♪ Pride can hurt you too ♪ 480 00:20:40,680 --> 00:20:43,240 ♪ Apologize to her ♪ 481 00:20:43,480 --> 00:20:44,960 ♪ Because she loves you ♪ 482 00:20:45,080 --> 00:20:48,240 ♪ And you know that can't be bad ♪ 483 00:20:49,920 --> 00:20:51,120 ♪ She loves you ♪ 484 00:20:51,200 --> 00:20:54,320 ♪ And you know you should be glad ♪ 485 00:20:54,680 --> 00:20:56,040 ♪ Ooh! ♪ 486 00:20:56,120 --> 00:20:58,520 ♪ She loves you, yeah, yeah, yeah ♪ 487 00:20:58,920 --> 00:21:01,680 ♪ She loves you, yeah, yeah, yeah ♪ 488 00:21:01,760 --> 00:21:06,400 ♪ With a love like that, you know you should be glad ♪ 489 00:21:08,000 --> 00:21:12,640 ♪ With a love like that, you know you should be glad ♪ 490 00:21:14,360 --> 00:21:21,120 ♪ With a love like that, you know you should be glad ♪ 491 00:21:23,440 --> 00:21:25,800 ♪ Yeah, yeah, yeah ♪ 492 00:21:26,360 --> 00:21:30,400 ♪ Yeah, yeah, yeah, yeah ♪ 493 00:21:30,480 --> 00:21:35,200 -[crowd screaming, cheering] -[♪ music concludes] 494 00:21:35,280 --> 00:21:36,880 When we go home, you know, 495 00:21:37,040 --> 00:21:39,920 we go in early in the morning when we've finished the job, 496 00:21:40,000 --> 00:21:43,120 and the kids, you know, they don't know you're at home. 497 00:21:43,200 --> 00:21:45,240 But if they find out, well, where I live, 498 00:21:45,320 --> 00:21:47,600 they get the drums out, you know, and beat it out. 499 00:21:47,720 --> 00:21:49,520 -[crowd cheering] -[♪ "I'll Get You" playing] 500 00:21:49,640 --> 00:21:54,440 ♪ Oh yeah, oh yeah, oh yeah ♪ 501 00:21:54,520 --> 00:21:56,080 [Ringo] It was getting really big. 502 00:21:56,160 --> 00:21:59,800 I think we noticed as we tried to move around town 503 00:21:59,880 --> 00:22:02,840 we started, you know, started being noticed in the street. 504 00:22:04,520 --> 00:22:06,160 It was impossible to go home. 505 00:22:06,600 --> 00:22:10,600 And also, it's very true, if you're in our business, 506 00:22:10,680 --> 00:22:11,960 you go to London. 507 00:22:12,680 --> 00:22:15,800 And that's where it happens. The recordings are there. 508 00:22:16,480 --> 00:22:18,440 The places to be seen are there. 509 00:22:18,720 --> 00:22:20,760 Where it's happening is there. 510 00:22:21,280 --> 00:22:23,360 It's just a natural move, you know. 511 00:22:24,160 --> 00:22:25,920 You know, and George and I shared an apartment 512 00:22:26,000 --> 00:22:28,920 in Green Street, Park Lane, wow, 45 quid a week. 513 00:22:29,040 --> 00:22:30,040 A fortune! 514 00:22:30,440 --> 00:22:32,240 And we'd go to The Saddle Rooms, 515 00:22:32,440 --> 00:22:33,640 used to be a club. 516 00:22:33,720 --> 00:22:36,320 And, uh, they used to have this horse 517 00:22:36,400 --> 00:22:38,640 and, uh, coach outside, 518 00:22:39,440 --> 00:22:41,440 and there'd be two little drunken Beatles 519 00:22:41,520 --> 00:22:43,400 in the back of this coach being taken home 520 00:22:43,480 --> 00:22:45,480 to Green Street, up Park Lane, clip-clop. 521 00:22:45,960 --> 00:22:47,800 And this is two shit-kickers from Liverpool. 522 00:22:47,880 --> 00:22:50,320 I mean, this is far-out news here. [laughs] 523 00:22:50,400 --> 00:22:52,120 "Oh, let's take the carriage!" 524 00:22:52,200 --> 00:22:54,560 [chuckles] "Okay." [clicks tongue] 525 00:22:56,400 --> 00:22:58,240 [John] And it was great, you know. We were kings. 526 00:22:58,320 --> 00:23:01,240 And we all, you know, just at the prime. 527 00:23:01,320 --> 00:23:02,960 And we all used to just... 528 00:23:03,040 --> 00:23:05,080 -go round London in our cars... -[♪ music concludes] 529 00:23:05,200 --> 00:23:06,800 ...and meet each other and talk about music 530 00:23:06,880 --> 00:23:08,800 with the Animals and Eric, and all that. 531 00:23:08,960 --> 00:23:11,040 And we were very close to the Stones. 532 00:23:12,320 --> 00:23:13,320 They needed a record. 533 00:23:13,400 --> 00:23:15,040 They'd put out "Come On" by Chuck Berry, 534 00:23:15,120 --> 00:23:16,560 and they needed a quick follow-up, 535 00:23:16,680 --> 00:23:18,160 "I Wanna Be Your Man", 536 00:23:18,640 --> 00:23:21,320 which we virtually finished off in front of them. 537 00:23:21,400 --> 00:23:22,680 [♪ "I Wanna Be Your Man" playing] 538 00:23:22,760 --> 00:23:23,960 ♪ I wanna be your man ♪ 539 00:23:24,040 --> 00:23:25,800 ♪ I wanna be your man ♪ 540 00:23:26,920 --> 00:23:28,800 ♪ I wanna be your man ♪ 541 00:23:29,840 --> 00:23:31,880 ♪ I wanna be your man ♪ 542 00:23:33,720 --> 00:23:36,120 ♪ Tell me that you love me, baby ♪ 543 00:23:36,200 --> 00:23:38,480 ♪ Tell me you understand ♪ 544 00:23:39,320 --> 00:23:41,800 ♪ Tell me that you love me, baby 545 00:23:41,880 --> 00:23:44,160 ♪ Tell me you understand ♪ 546 00:23:44,240 --> 00:23:47,120 ♪ Yes, I wanna be your lover, baby ♪ 547 00:23:47,360 --> 00:23:49,160 ♪ I wanna be your man ♪ 548 00:23:49,240 --> 00:23:51,960 ♪ Yes, I wanna be, I wanna be your baby... ♪ 549 00:23:52,040 --> 00:23:54,640 [John] They did it first. We did it with Ringo after. 550 00:23:55,080 --> 00:23:56,440 [♪ "I Wanna Be Your Man" playing] 551 00:23:56,520 --> 00:23:57,680 ♪ I wanna be your man ♪ 552 00:23:57,840 --> 00:24:00,120 ♪ I wanna be your man ♪ 553 00:24:00,240 --> 00:24:02,040 ♪ I wanna be your man ♪ 554 00:24:02,680 --> 00:24:05,560 ♪ I wanna be your man ♪ 555 00:24:05,920 --> 00:24:08,320 ♪ Tell me that you love me, baby ♪ 556 00:24:08,400 --> 00:24:10,280 ♪ Let me understand ♪ 557 00:24:10,800 --> 00:24:13,200 ♪ Tell me that you love me, baby ♪ 558 00:24:13,320 --> 00:24:15,200 ♪ I wanna be your man ♪ 559 00:24:15,720 --> 00:24:18,080 ♪ I wanna be your lover, baby ♪ 560 00:24:18,200 --> 00:24:20,040 ♪ I wanna be your man ♪ 561 00:24:20,800 --> 00:24:22,920 ♪ I wanna be your lover, baby ♪ 562 00:24:23,040 --> 00:24:25,080 ♪ I wanna be your man ♪ 563 00:24:25,600 --> 00:24:27,600 ♪ I wanna be your man ♪ 564 00:24:28,200 --> 00:24:29,800 ♪ I wanna be your man ♪ 565 00:24:30,200 --> 00:24:32,320 ♪ I wanna be your man ♪ 566 00:24:33,080 --> 00:24:35,960 ♪ I wanna be your man, wah! ♪ 567 00:24:36,040 --> 00:24:39,720 We were always kinda, you know, a little nervous 568 00:24:39,800 --> 00:24:42,320 before each step we went up the ladder. 569 00:24:42,400 --> 00:24:45,080 We were a little nervous. But we always had that confidence. 570 00:24:45,360 --> 00:24:46,640 [Eric Morecambe] Eyaahh! 571 00:24:46,760 --> 00:24:48,600 -[audience laughing] -[laughs] 572 00:24:48,680 --> 00:24:50,720 It's the Kay Sisters. They've got on wigs. 573 00:24:50,800 --> 00:24:52,240 -[audience laughing] -Fabulous. 574 00:24:52,320 --> 00:24:53,560 The Kay Sisters? This is The-- 575 00:24:53,640 --> 00:24:55,520 -Have you dyed your hair? -This is The Beatles! 576 00:24:55,720 --> 00:24:57,400 Hello, Beatle. 577 00:24:57,480 --> 00:24:59,160 -[audience laughing] -All right? 578 00:24:59,240 --> 00:25:00,600 -Where is he? -Where is he? 579 00:25:00,680 --> 00:25:03,840 There he is! Hello, Bongo! 580 00:25:03,920 --> 00:25:07,160 [all laugh] 581 00:25:07,600 --> 00:25:08,880 That's Ringo! 582 00:25:08,960 --> 00:25:10,520 [Eric Morecambe] Oh, is he there as well? Oh, good. 583 00:25:10,600 --> 00:25:12,000 [audience laughing] 584 00:25:12,080 --> 00:25:13,480 -By golly! -Boys, as you can gather, 585 00:25:13,560 --> 00:25:14,760 this is Eric. Say hello to Eric. 586 00:25:14,840 --> 00:25:15,840 -Yeah. -Hello, Eric. 587 00:25:15,920 --> 00:25:16,920 -Hello, mate. -I remember you. 588 00:25:17,000 --> 00:25:19,040 You're the one with the short fat hairy legs. 589 00:25:19,760 --> 00:25:22,880 No, no, no. He's... He's the one with the short fat hairy legs. 590 00:25:22,960 --> 00:25:24,920 -Oh, I thought it was-- -No, him. 591 00:25:25,000 --> 00:25:26,240 -Yeah. -We're the ones with the big, 592 00:25:26,320 --> 00:25:27,560 fat hairy heads. 593 00:25:27,640 --> 00:25:28,840 -[audience laughing] -[laughs] 594 00:25:28,920 --> 00:25:30,720 -Get out of that! -Hey! 595 00:25:30,800 --> 00:25:33,280 [laughs] What's it like being famous? 596 00:25:33,360 --> 00:25:35,000 Well, it's not like in your day, you know. 597 00:25:35,080 --> 00:25:38,200 -[laughs] -[audience laughing] 598 00:25:38,280 --> 00:25:39,280 What? 599 00:25:40,800 --> 00:25:42,720 No, no, that's an insult, that is. 600 00:25:42,800 --> 00:25:44,880 -[laughs] -[audience laughing] 601 00:25:44,960 --> 00:25:46,520 What do you mean, "Not like in my day?" 602 00:25:46,600 --> 00:25:48,440 Well, me dad used to tell me about you, you know? 603 00:25:48,520 --> 00:25:50,160 -In the old days. -You've only got a little dad, 604 00:25:50,240 --> 00:25:52,320 -have you? -[all laugh] 605 00:25:54,200 --> 00:25:55,920 Your dad used to tell you... 606 00:25:56,000 --> 00:25:58,440 -That's a bit strong, innit? -No, he's right. 607 00:25:58,520 --> 00:26:00,800 -[Eric Morecambe] All right, Bonzo? -[audience laughing] 608 00:26:00,880 --> 00:26:02,600 -It's Ringo! -Yeah, him as well. 609 00:26:02,920 --> 00:26:04,200 Get 'em off, Ern, they've done enough now. 610 00:26:04,280 --> 00:26:05,280 What do you mean, "done enough"? 611 00:26:05,360 --> 00:26:07,120 No, well, they're getting insulting now. Get 'em off. 612 00:26:07,280 --> 00:26:09,440 And that was the good thing about being four together, 613 00:26:09,520 --> 00:26:11,240 not like Elvis, you know, 614 00:26:11,640 --> 00:26:13,400 I always felt sorry later for Elvis 615 00:26:13,480 --> 00:26:16,040 'cause he was on his own. He had his guys with him, 616 00:26:16,120 --> 00:26:18,040 but there was only one Elvis. 617 00:26:18,120 --> 00:26:20,320 Nobody else knew what he felt like. 618 00:26:20,880 --> 00:26:23,840 But for us, we all shared the experience. 619 00:26:23,920 --> 00:26:25,600 [Paul] One, two, three, four. 620 00:26:25,680 --> 00:26:27,640 [♪ "What You're Doing" intro playing] 621 00:26:32,960 --> 00:26:34,640 -[♪ music concludes] -[Paul] George? What did it sound like 622 00:26:34,720 --> 00:26:35,880 with the bass doing a funny thing? 623 00:26:35,960 --> 00:26:38,640 Did it sound any good, or did it sound just like utterly crap? 624 00:26:39,400 --> 00:26:40,720 [George Martin] It sounded rather magnificent. 625 00:26:40,800 --> 00:26:42,600 [Paul] Did it? Well, there! See! Told you! Nerrhh! 626 00:26:42,720 --> 00:26:44,200 Hello to you, and see how you like it! 627 00:26:44,280 --> 00:26:45,960 [George Martin] We had a great time in the studio. 628 00:26:46,040 --> 00:26:47,680 They were enormously happy times. 629 00:26:47,760 --> 00:26:50,120 And, uh, they would fool around a lot, you know, 630 00:26:50,200 --> 00:26:51,640 and have... have a bit of a laugh, 631 00:26:51,720 --> 00:26:53,320 particularly when overdubbing voices. 632 00:26:54,000 --> 00:26:56,600 Um, but my memory of those times 633 00:26:56,680 --> 00:26:57,720 were very happy ones. 634 00:26:57,800 --> 00:27:03,160 -[♪ "This Boy" playing] -♪ ...would be happy just to love you ♪ 635 00:27:04,360 --> 00:27:07,680 ♪ But, oh my ♪ 636 00:27:07,840 --> 00:27:08,840 ♪ This boy ♪ 637 00:27:08,920 --> 00:27:10,160 [John sings] ♪ That boy ♪ [chuckles] Stop! 638 00:27:10,240 --> 00:27:11,760 [Paul sings] ♪ This boy, that boy, that boy... ♪ 639 00:27:11,840 --> 00:27:12,920 [John] I've got "This boy, that boy." 640 00:27:13,000 --> 00:27:14,120 [Paul sings] ♪ That little boy ♪ 641 00:27:14,240 --> 00:27:15,760 [engineer] Take 2, "This Boy", Take 2. 642 00:27:16,000 --> 00:27:17,480 [guitar strumming] 643 00:27:17,560 --> 00:27:19,400 [John clears throat] Try it now and say, "This boy." 644 00:27:19,480 --> 00:27:21,600 [Paul] And if I don't, well, it's just too bad, i'nt it? 645 00:27:21,960 --> 00:27:23,000 Yer daft get! 646 00:27:23,080 --> 00:27:25,200 [John] You don't have to say it, you just have to sort of look 647 00:27:25,320 --> 00:27:26,680 and I'll think, "What is it?" and I'll think-- 648 00:27:26,760 --> 00:27:27,800 [engineer] Take 13. 649 00:27:27,920 --> 00:27:30,640 [Paul laughs] I was just thinking of that... 650 00:27:30,880 --> 00:27:32,080 [sings] ♪ That boy ♪ 651 00:27:32,160 --> 00:27:34,080 I just went dead loud on one bit. 652 00:27:34,280 --> 00:27:37,240 [John] Oh, come on! A-one, two, three, fower! 653 00:27:37,320 --> 00:27:39,520 [♪ "This Boy" playing] 654 00:27:43,760 --> 00:27:46,680 ♪ That boy ♪ 655 00:27:47,920 --> 00:27:52,480 ♪ Took my love away ♪ 656 00:27:54,240 --> 00:27:59,600 ♪ Though he'll regret it some day ♪ 657 00:27:59,840 --> 00:28:06,080 ♪ But this boy wants you back again ♪ 658 00:28:10,160 --> 00:28:13,000 ♪ That boy ♪ 659 00:28:14,200 --> 00:28:19,360 ♪ Isn't good for you ♪ 660 00:28:20,520 --> 00:28:26,000 ♪ Though he may want you too ♪ 661 00:28:26,480 --> 00:28:32,600 ♪ This boy wants you back again ♪ 662 00:28:34,640 --> 00:28:37,800 ♪ Oh, and this boy ♪ 663 00:28:38,800 --> 00:28:44,480 ♪ Would be happy just to love you ♪ 664 00:28:45,360 --> 00:28:49,360 ♪ But, oh my ♪ 665 00:28:49,440 --> 00:28:53,920 ♪ That boy won't be happy ♪ 666 00:28:55,840 --> 00:29:02,360 ♪ Till he's seen you cry ♪ 667 00:29:02,440 --> 00:29:05,240 ♪ This boy ♪ 668 00:29:06,360 --> 00:29:10,920 ♪ Wouldn't mind the pain ♪ 669 00:29:12,600 --> 00:29:18,080 ♪ Would always feel the same ♪ 670 00:29:18,240 --> 00:29:24,400 ♪ If this boy gets you back again ♪ 671 00:29:28,320 --> 00:29:31,560 ♪ This boy ♪ 672 00:29:35,160 --> 00:29:39,640 We do like the fans and enjoy reading the publicity about us. 673 00:29:39,720 --> 00:29:42,200 But, from time to time, you don't realize 674 00:29:42,280 --> 00:29:44,880 that it's actually about yourself. 675 00:29:44,960 --> 00:29:46,360 -[♪ music concludes] -You see your pictures 676 00:29:46,440 --> 00:29:48,320 and read articles about, 677 00:29:48,400 --> 00:29:50,760 you know, George Harrison and Ringo Starr, 678 00:29:50,840 --> 00:29:53,320 Paul and John, uh, but you don't actually think, 679 00:29:53,400 --> 00:29:56,120 "Oh, that's me. There I am in the paper." 680 00:29:56,440 --> 00:29:57,640 It's... It's funny. 681 00:29:57,720 --> 00:29:59,320 It's just as though it's a different person. 682 00:29:59,800 --> 00:30:01,680 It all sounds complaining, and that, but you know, we're not. 683 00:30:01,760 --> 00:30:03,800 We're just putting the point is that, 684 00:30:03,880 --> 00:30:06,520 you know, it affects your home more than it does yourself, 685 00:30:06,600 --> 00:30:08,800 you know, because you know what to expect. 686 00:30:08,960 --> 00:30:10,520 But your parents and your family, you know, 687 00:30:10,720 --> 00:30:11,840 they don't know what's happening. 688 00:30:12,360 --> 00:30:13,680 [Ringo] You were treated differently, 689 00:30:14,240 --> 00:30:15,800 and you had to get used to that then. 690 00:30:15,880 --> 00:30:18,360 Then you, you know, you find yourself in... 691 00:30:18,440 --> 00:30:20,200 -in a weird land... -[crowd cheering] 692 00:30:20,760 --> 00:30:23,240 ...because of all these people you've grown up and lived with. 693 00:30:25,160 --> 00:30:26,280 Suddenly, you-- 694 00:30:26,360 --> 00:30:28,440 It was the one place you didn't want it to change. 695 00:30:29,240 --> 00:30:30,920 Because it all changed out there. 696 00:30:31,360 --> 00:30:34,360 And you were never secure, really, who your friends were, 697 00:30:34,440 --> 00:30:35,800 unless you had 'em before. 698 00:30:36,560 --> 00:30:39,000 [George] You know, people are so in awe of fame. 699 00:30:39,120 --> 00:30:41,240 I mean, all you have to do is go on the radio 700 00:30:41,320 --> 00:30:43,360 -or the television once... -[crowd cheering] 701 00:30:43,600 --> 00:30:45,040 ...and if somebody sees you on there 702 00:30:45,120 --> 00:30:46,560 and then they see you down the street, 703 00:30:46,640 --> 00:30:47,760 they act different, don't they? 704 00:30:47,840 --> 00:30:49,960 But the Beatles was being on the papers 705 00:30:50,040 --> 00:30:52,800 every day for a year or so. 706 00:30:53,000 --> 00:30:54,440 Everybody changes, you know. 707 00:30:54,520 --> 00:30:58,560 They're so impressed by it. People forget how to act normal. 708 00:30:59,440 --> 00:31:05,480 The one absolute clear vision, was I was at my auntie's... 709 00:31:07,240 --> 00:31:10,400 which I'd been a thousand times before, 710 00:31:10,560 --> 00:31:13,360 and, uh, anyway, we were having a cup of tea one night... 711 00:31:14,840 --> 00:31:18,000 may have even been after an Empire show, 712 00:31:18,080 --> 00:31:19,480 or a Southport show... [chuckles] 713 00:31:19,560 --> 00:31:22,680 ...or one of those shows, and, uh, 714 00:31:22,760 --> 00:31:24,800 somebody knocked the little coffee table 715 00:31:24,880 --> 00:31:27,160 and my tea went in my saucer, and suddenly it was, 716 00:31:27,240 --> 00:31:29,640 "He can't have that. We have to tidy it up," 717 00:31:29,720 --> 00:31:32,000 where that would never have happened before, 718 00:31:32,680 --> 00:31:36,240 uh, just-- And I thought, "Oh, things are changing." 719 00:31:36,320 --> 00:31:39,440 I mean, it was an absolute arrow in the brain, you know. 720 00:31:39,760 --> 00:31:41,760 -[♪ "Long Tall Sally" playing] -♪ I'm gonna tell Aunt Mary ♪ 721 00:31:41,840 --> 00:31:43,160 ♪ 'bout Uncle John ♪ 722 00:31:43,280 --> 00:31:45,440 ♪ Said he had been busy but he got a lot of fun ♪ 723 00:31:45,560 --> 00:31:49,560 ♪ Oh, baby, yeah, now, baby ♪ 724 00:31:49,640 --> 00:31:52,440 ♪ Woo-ooh-ooh, baby ♪ 725 00:31:53,000 --> 00:31:54,920 ♪ Some fun tonight ♪ 726 00:31:56,440 --> 00:31:58,920 ♪ Saw Uncle John, bald-headed Sally ♪ 727 00:31:59,080 --> 00:32:01,440 ♪ Saw Aunt Mary coming and he ducked back in the alley ♪ 728 00:32:01,560 --> 00:32:05,160 ♪ Oh, baby, yeah, now, baby ♪ 729 00:32:05,720 --> 00:32:08,320 ♪ Woo-ooh-ooh, baby ♪ 730 00:32:08,800 --> 00:32:11,080 ♪ Some fun tonight Aaah! ♪ 731 00:32:26,320 --> 00:32:29,440 ♪ Yeah, we're gonna have some fun tonight ♪ 732 00:32:30,000 --> 00:32:32,640 ♪ Have some fun tonight, wooh! ♪ 733 00:32:32,720 --> 00:32:34,640 ♪ Everything's all right ♪ 734 00:32:35,000 --> 00:32:36,840 ♪ Have some fun tonight ♪ 735 00:32:37,120 --> 00:32:40,400 ♪ Oh, have some fun, yeah ♪ 736 00:32:42,000 --> 00:32:44,800 ♪ Yeah, I'm gonna have some fun tonight ♪ 737 00:32:45,280 --> 00:32:47,960 ♪ Have some fun to-aaah! ♪ 738 00:32:48,120 --> 00:32:49,760 ♪ Everything's all right ♪ 739 00:32:50,280 --> 00:32:52,440 ♪ Have some fun tonight ♪ 740 00:32:52,920 --> 00:32:56,960 ♪ Have some fun, some fun tonight, yeah ♪ 741 00:32:59,120 --> 00:33:01,120 -[crowd cheering] -[♪ music concludes] 742 00:33:04,480 --> 00:33:06,560 [Brian Matthew] Today, the Beatles returned from Sweden 743 00:33:06,840 --> 00:33:09,080 to be greeted by what the British press are calling 744 00:33:09,160 --> 00:33:10,480 "Beatlemania". 745 00:33:10,560 --> 00:33:13,000 We'll see what the Queen Mother thinks of Beatlemania 746 00:33:13,120 --> 00:33:15,320 when the Beatles perform at The Royal Variety Show 747 00:33:15,400 --> 00:33:17,680 -on the 4th of November. -[crowd cheering] 748 00:33:18,280 --> 00:33:22,040 [Derek Taylor] I was sent to, uh, pursue them, 749 00:33:22,840 --> 00:33:26,480 to harass them in, uh, September '63 750 00:33:26,560 --> 00:33:28,680 by the News Editor of the Daily Express, 751 00:33:29,160 --> 00:33:30,280 who said they'd had it. 752 00:33:30,360 --> 00:33:32,200 They were about to betray their young fans 753 00:33:32,280 --> 00:33:35,440 by agreeing to appear on The Royal Variety Show. 754 00:33:35,760 --> 00:33:37,400 "Go and get them. Get a quote. 755 00:33:38,240 --> 00:33:39,400 Get them to condemn themselves... 756 00:33:39,480 --> 00:33:40,800 [chuckles] ...out of their own mouths and say, 757 00:33:40,880 --> 00:33:42,160 'We shouldn’t be doing it. We know that. 758 00:33:42,240 --> 00:33:45,120 We're betraying our fans' and so on, and so on." 759 00:33:45,200 --> 00:33:47,040 Well, the long and short of it was, 760 00:33:47,120 --> 00:33:48,440 uh, we all turned up, 761 00:33:48,520 --> 00:33:50,120 the Daily Mail, the Express, the Mirror. 762 00:33:51,280 --> 00:33:54,480 They were very defiant. And Ringo did the perfect quote, 763 00:33:54,800 --> 00:33:56,960 "I want to play me drums for the Queen Mum." 764 00:33:57,040 --> 00:33:58,200 All that sort of stuff. 765 00:33:58,280 --> 00:34:01,800 We were the first working-class singers 766 00:34:02,360 --> 00:34:05,960 that stayed working class and pronounced it, 767 00:34:06,440 --> 00:34:07,920 didn't try and change our accents, 768 00:34:08,000 --> 00:34:09,120 which in England are looked-- 769 00:34:09,200 --> 00:34:11,240 were looked down upon, probably still are. 770 00:34:11,480 --> 00:34:13,440 [interviewer] John, in... in this Royal Variety Show, 771 00:34:13,520 --> 00:34:14,960 when you're appearing before royalty, 772 00:34:15,280 --> 00:34:16,520 uh, your language has gotta be 773 00:34:16,600 --> 00:34:17,880 -pretty good, obviously. -[chuckles softly] 774 00:34:17,960 --> 00:34:19,280 [interviewer] This thing about Ted Heath saying 775 00:34:19,400 --> 00:34:21,440 that he couldn't distinguish, uh, you from, 776 00:34:21,520 --> 00:34:23,520 -say, the Queen's English. -[in RP accent] I can't understand Teddy. 777 00:34:23,600 --> 00:34:25,400 I can't understand Teddy saying that at all, really. 778 00:34:25,480 --> 00:34:27,320 [all chuckling] 779 00:34:27,400 --> 00:34:29,760 -I'm not gonna vote for Ted! -[chuckles] 780 00:34:30,080 --> 00:34:32,280 [interviewer] Paul, uh, have you thought about your act for the show yet? 781 00:34:32,360 --> 00:34:34,480 Uh, any changes in the act, or is it going to be, you know, 782 00:34:34,560 --> 00:34:35,920 the usual routine? 783 00:34:36,160 --> 00:34:38,040 No, we'll have to change it, I'm sure. We can't-- 784 00:34:38,120 --> 00:34:39,280 -Hey, stop hitting me. -[John laughs] 785 00:34:39,360 --> 00:34:41,160 We... We'll have to change it, but we can't, uh, 786 00:34:41,240 --> 00:34:42,600 do the same thing all the time. 787 00:34:42,800 --> 00:34:44,520 We haven't thought about what we're gonna do yet. 788 00:34:44,600 --> 00:34:45,800 [interviewer] Suits with collars on? 789 00:34:45,920 --> 00:34:47,160 -Brushed, parted hair... -You never know. 790 00:34:47,240 --> 00:34:48,800 -...something like that? -We may not wear suits. 791 00:34:49,000 --> 00:34:51,120 You never know. [chuckles] We've no idea. 792 00:34:51,200 --> 00:34:55,000 [crowd applauding] 793 00:35:04,480 --> 00:35:05,560 Thank you. 794 00:35:06,640 --> 00:35:09,400 For our last number, I'd like to ask your help. 795 00:35:10,480 --> 00:35:11,920 The people in the cheaper seats, 796 00:35:12,000 --> 00:35:14,200 -clap your hands. -[crowd laughing] 797 00:35:14,840 --> 00:35:16,920 And the rest of you, if you'd just rattle your jewelry. 798 00:35:17,000 --> 00:35:21,960 [crowd laughing, applauding] 799 00:35:23,160 --> 00:35:26,640 Thank you. We'd like to sing a song called "Twist And Shout". 800 00:35:26,720 --> 00:35:28,320 -[Paul] One, two, three! -[♪ "Twist And Shout" playing] 801 00:35:28,400 --> 00:35:31,080 -Yeah! -[Paul] Everybody! Hey! 802 00:35:34,840 --> 00:35:36,920 ♪ Well, shake it up, baby, now ♪ 803 00:35:37,000 --> 00:35:38,520 ♪ Shake it up, baby ♪ 804 00:35:38,920 --> 00:35:40,840 ♪ Twist and shout ♪ 805 00:35:40,920 --> 00:35:42,400 ♪ Twist and shout ♪ 806 00:35:42,480 --> 00:35:44,840 ♪ Come on, come on, come on, come on, baby, now ♪ 807 00:35:44,920 --> 00:35:46,040 ♪ Come on, baby ♪ 808 00:35:46,120 --> 00:35:48,760 ♪ Come on and work it on out ♪ 809 00:35:48,840 --> 00:35:50,440 ♪ Work it on out, ooh ♪ 810 00:35:50,520 --> 00:35:52,640 ♪ Well, work it on out, now ♪ 811 00:35:52,720 --> 00:35:54,080 ♪ Work it on out ♪ 812 00:35:54,160 --> 00:35:56,440 ♪ You know you look so good ♪ 813 00:35:56,640 --> 00:35:57,920 ♪ Look so good ♪ 814 00:35:58,000 --> 00:36:00,640 ♪ You know you got me goin', now ♪ 815 00:36:00,720 --> 00:36:01,840 ♪ Got me goin' ♪ 816 00:36:01,920 --> 00:36:04,000 ♪ Just like I knew you would ♪ 817 00:36:04,120 --> 00:36:06,320 ♪ Like I knew you would, ooh ♪ 818 00:36:06,400 --> 00:36:08,440 ♪ Well, shake it up, baby, now ♪ 819 00:36:08,520 --> 00:36:09,920 ♪ Shake it up, baby ♪ 820 00:36:10,320 --> 00:36:12,280 ♪ Twist and shout ♪ 821 00:36:12,400 --> 00:36:13,600 ♪ Twist and shout ♪ 822 00:36:13,680 --> 00:36:16,440 ♪ Come on, come on, come on, come on, baby, now ♪ 823 00:36:16,520 --> 00:36:17,680 ♪ Come on, baby ♪ 824 00:36:17,760 --> 00:36:19,880 ♪ Come on and work it on out ♪ 825 00:36:20,320 --> 00:36:21,800 ♪ Work it on out, ooh ♪ 826 00:36:21,880 --> 00:36:24,120 ♪ Well, you twist, you little girl ♪ 827 00:36:24,400 --> 00:36:25,640 ♪ Twist, little girl ♪ 828 00:36:25,760 --> 00:36:28,280 ♪ You know you twist so fine ♪ 829 00:36:28,480 --> 00:36:29,680 ♪ Twist so fine ♪ 830 00:36:29,760 --> 00:36:32,520 ♪ Come on and twist a little closer, now ♪ 831 00:36:32,600 --> 00:36:33,880 ♪ Twist a little closer ♪ 832 00:36:33,960 --> 00:36:36,680 ♪ And let me know that you're mine ♪ 833 00:36:36,760 --> 00:36:39,240 ♪ Let me know you're mine, ooh ♪ 834 00:36:55,800 --> 00:36:57,880 ♪ Ah ♪ 835 00:36:57,960 --> 00:36:59,960 ♪ Ah ♪ 836 00:37:00,040 --> 00:37:01,760 ♪ Ah ♪ 837 00:37:01,920 --> 00:37:04,080 ♪ Ah ♪ 838 00:37:04,160 --> 00:37:07,480 -♪ Aaah! ♪ -♪ Ow! Ow! ♪ 839 00:37:07,560 --> 00:37:09,160 ♪ Yeah! Shake it up, baby, now ♪ 840 00:37:09,240 --> 00:37:10,760 ♪ Shake it up, baby ♪ 841 00:37:11,160 --> 00:37:13,040 ♪ Twist and shout ♪ 842 00:37:13,320 --> 00:37:14,440 ♪ Twist and shout ♪ 843 00:37:14,560 --> 00:37:17,400 ♪ Come on, come on, come on, come on, baby, now ♪ 844 00:37:17,480 --> 00:37:18,760 ♪ Come on, baby ♪ 845 00:37:18,840 --> 00:37:21,400 ♪ Come on and work it on out ♪ 846 00:37:21,520 --> 00:37:23,040 ♪ Work it on out, ooh ♪ 847 00:37:23,120 --> 00:37:25,280 ♪ Well, you twist, you little girl ♪ 848 00:37:25,480 --> 00:37:26,720 ♪ Twist, little girl ♪ 849 00:37:26,800 --> 00:37:29,400 ♪ You know you twist so fine ♪ 850 00:37:29,600 --> 00:37:30,840 ♪ Twist so fine ♪ 851 00:37:30,920 --> 00:37:33,600 ♪ Come on and twist a little closer, now ♪ 852 00:37:33,680 --> 00:37:35,120 ♪ Twist a little closer ♪ 853 00:37:35,200 --> 00:37:37,520 ♪ And let me know that you're mine ♪ 854 00:37:37,600 --> 00:37:39,080 ♪ Let me know you're mine ♪ 855 00:37:39,160 --> 00:37:41,760 ♪ Well, shake it, shake it, shake it, baby, now ♪ 856 00:37:41,840 --> 00:37:43,240 ♪ Shake it up, baby ♪ 857 00:37:43,320 --> 00:37:45,920 ♪ Well, shake it, shake it, shake it, baby, now ♪ 858 00:37:46,000 --> 00:37:47,360 ♪ Shake it up, baby ♪ 859 00:37:47,440 --> 00:37:49,960 ♪ Well, shake it, shake it, shake it, baby, now ♪ 860 00:37:50,040 --> 00:37:51,880 ♪ Shake it up, baby ♪ 861 00:37:51,960 --> 00:37:53,200 ♪ Ooh ♪ 862 00:37:53,280 --> 00:37:55,240 ♪ Ah ♪ 863 00:37:55,360 --> 00:37:57,360 ♪ Ah ♪ 864 00:37:57,440 --> 00:37:59,240 ♪ Ah ♪ 865 00:37:59,400 --> 00:38:00,680 ♪ Yeah ♪ 866 00:38:04,200 --> 00:38:06,400 -[crowd applauding] -[♪ music concludes] 867 00:38:06,480 --> 00:38:08,760 [♪ "Twist And Shout" orchestral instrumental playing] 868 00:38:19,760 --> 00:38:21,400 [♪ music concludes] 869 00:38:21,480 --> 00:38:23,880 -[♪ "It Won't Be Long" playing] -♪ It won't be long, yeah ♪ 870 00:38:23,960 --> 00:38:25,560 ♪ Yeah, yeah ♪ 871 00:38:25,640 --> 00:38:27,320 ♪ It won't be long, yeah ♪ 872 00:38:27,640 --> 00:38:28,960 ♪ Yeah, yeah ♪ 873 00:38:29,040 --> 00:38:31,320 ♪ It won't be long, yeah ♪ 874 00:38:31,440 --> 00:38:34,280 ♪ Till I belong to you ♪ 875 00:38:34,600 --> 00:38:36,320 -[♪ music concludes] -[George Martin] With The Beatles was 876 00:38:36,400 --> 00:38:39,000 the first, kind of put-together album of... of... 877 00:38:39,080 --> 00:38:41,280 first songbook, so to speak. 878 00:38:41,600 --> 00:38:44,880 And they gave me a list of their songs and... 879 00:38:45,440 --> 00:38:49,080 and they were all thinking in terms of singles, still. 880 00:38:49,160 --> 00:38:51,720 -[♪ "I Wanna Be Your Man" playing] -♪ I wanna be your man ♪ 881 00:38:51,800 --> 00:38:53,440 ♪ I wanna be your man ♪ 882 00:38:53,640 --> 00:38:54,960 [George Martin] We weren't thinking in terms 883 00:38:55,040 --> 00:38:57,160 of an album being an entity by itself. 884 00:38:57,240 --> 00:38:58,880 It was a collection of their songs, 885 00:38:59,160 --> 00:39:01,360 and I think one or two other people's songs as well. 886 00:39:01,600 --> 00:39:03,640 [George] There was a bunch of cover versions on this, 887 00:39:03,720 --> 00:39:04,800 "Mister Postman". 888 00:39:04,880 --> 00:39:06,240 -[♪ "Mister Postman" playing] -♪ Wait! Oh yes ♪ 889 00:39:06,320 --> 00:39:08,640 ♪ Wait a minute, Mister Postman ♪ 890 00:39:08,720 --> 00:39:12,600 -♪ Wait ♪ -♪ Wait, Mister Postman ♪ 891 00:39:13,040 --> 00:39:15,440 ♪ Mister Postman, look and see... ♪ 892 00:39:15,520 --> 00:39:18,240 [Ringo] It was interesting when I joined the Beatles, 893 00:39:18,320 --> 00:39:19,600 and we didn't really know each other. 894 00:39:19,680 --> 00:39:23,240 But if we looked at each other's record collection, 895 00:39:23,440 --> 00:39:25,880 the four of us virtually had the same records. 896 00:39:25,960 --> 00:39:27,760 ♪ From that girl of mine ♪ 897 00:39:28,600 --> 00:39:32,320 ♪ There must be some word today ♪ 898 00:39:32,400 --> 00:39:35,280 ♪ From my girlfriend so far away ♪ 899 00:39:36,040 --> 00:39:39,320 ♪ Please, Mister Postman, look and see ♪ 900 00:39:40,040 --> 00:39:43,520 ♪ If there's a letter, a letter for me ♪ 901 00:39:43,600 --> 00:39:44,680 ♪ I've been... ♪ 902 00:39:44,760 --> 00:39:47,480 [George Martin] And all we did was to record singles. 903 00:39:47,560 --> 00:39:48,960 And the ones that weren't too good, 904 00:39:49,440 --> 00:39:51,640 we wouldn't issue as singles, we'd put them on an album. 905 00:39:51,720 --> 00:39:53,240 -[♪ "All My Loving" playing] -♪ Close your eyes ♪ 906 00:39:53,360 --> 00:39:54,920 ♪ And I'll kiss you ♪ 907 00:39:55,080 --> 00:39:58,120 ♪ Tomorrow I'll miss you ♪ 908 00:39:58,560 --> 00:40:00,360 [John] In the early days, we were really set 909 00:40:00,440 --> 00:40:01,920 on giving people their money's worth 910 00:40:02,000 --> 00:40:03,040 off the record. 911 00:40:03,120 --> 00:40:05,600 And that was our policy first, just to put 14 tracks a side, 912 00:40:05,680 --> 00:40:06,760 it was brand new, 913 00:40:06,880 --> 00:40:08,600 and never put singles on the albums, 914 00:40:08,680 --> 00:40:10,440 which everybody did, was have a hit single 915 00:40:10,520 --> 00:40:11,640 and make an album round it. 916 00:40:11,800 --> 00:40:15,480 ♪ ...all my loving to you ♪ 917 00:40:15,840 --> 00:40:16,880 [♪ "Roll Over Beethoven" playing] 918 00:40:16,960 --> 00:40:18,520 ♪ Well, if you feel it and like it ♪ 919 00:40:18,600 --> 00:40:21,200 ♪ Get your lover and reel and rock it ♪ 920 00:40:21,440 --> 00:40:25,200 ♪ Roll it over and move on up just a trifle further ♪ 921 00:40:25,280 --> 00:40:28,240 ♪ And reel and rock it, roll it over ♪ 922 00:40:28,320 --> 00:40:30,040 ♪ Roll over Beethoven ♪ 923 00:40:30,120 --> 00:40:32,640 ♪ Dig these rhythm and blues ♪ 924 00:40:34,240 --> 00:40:36,560 [George] Robert Freeman, who took this picture, 925 00:40:37,240 --> 00:40:40,200 copied... our request, actually, 926 00:40:40,280 --> 00:40:42,800 he copied Astrid Kirchherr’s photographs. 927 00:40:42,920 --> 00:40:44,160 We showed him the pictures 928 00:40:44,240 --> 00:40:45,680 that we took in Hamburg with Astrid, and said, 929 00:40:45,760 --> 00:40:47,560 "Why can't you do it like this?" 930 00:40:49,440 --> 00:40:52,240 [Brian Matthew] The Beatles' second LP, With The Beatles, 931 00:40:52,320 --> 00:40:55,240 has broken the record for advance sales of an LP. 932 00:40:55,640 --> 00:40:58,400 With The Beatles has an advance of a quarter of a million. 933 00:40:58,600 --> 00:41:01,920 The record was previously held by Elvis Presley's Blue Hawaii. 934 00:41:02,160 --> 00:41:03,720 Brian Epstein could well be right 935 00:41:03,800 --> 00:41:05,400 in his prediction that the Beatles, 936 00:41:05,480 --> 00:41:08,200 one day, will be bigger than Elvis Presley. 937 00:41:11,040 --> 00:41:12,960 -[♪ music concludes] -[crowd cheering, applauding] 938 00:41:13,040 --> 00:41:14,880 [John] You know, our goal was to be as big as Elvis, 939 00:41:14,960 --> 00:41:16,600 but we didn't actually think we were gonna do it. 940 00:41:16,680 --> 00:41:18,600 We... We couldn't think in terms of going to America. 941 00:41:18,680 --> 00:41:21,200 I mean, that was like a dream. I mean, you think locally. 942 00:41:21,280 --> 00:41:23,000 And first of all, it was making it big in Liverpool. 943 00:41:23,080 --> 00:41:24,400 And then being the best group in the... 944 00:41:24,480 --> 00:41:25,480 in the county, you know. 945 00:41:25,560 --> 00:41:27,920 Then being the best group in England. 946 00:41:28,000 --> 00:41:29,760 And then we go up to Scotland and break them in, 947 00:41:29,840 --> 00:41:31,000 and things like that. 948 00:41:31,080 --> 00:41:34,080 And your goal was always, you know, just a few yards ahead 949 00:41:34,160 --> 00:41:35,280 rather than right up there. 950 00:41:35,440 --> 00:41:37,960 I think one of the cheekiest things we ever did 951 00:41:38,040 --> 00:41:39,600 was say to Brian Epstein, 952 00:41:39,880 --> 00:41:42,600 "We're not going to America till we've got a No. 1." 953 00:41:42,840 --> 00:41:45,360 And the reason we did that, we'd seen a lot of people like, 954 00:41:45,440 --> 00:41:48,280 er, Adam Faith, Cliff Richard, British stars, 955 00:41:48,360 --> 00:41:51,720 quite big stars over in Britain, go over to America and be like 956 00:41:51,800 --> 00:41:54,680 third or fourth on the bill to people like Frankie Avalon. 957 00:41:54,760 --> 00:41:57,680 George had been over there, uh, to America, 958 00:41:57,760 --> 00:42:00,720 er, a little before we'd gone, and nobody knew about us. 959 00:42:00,800 --> 00:42:02,960 And he came back and got us all worried 960 00:42:03,600 --> 00:42:04,960 'cause he'd go into record shops saying, 961 00:42:05,040 --> 00:42:06,520 "Have you got the Beatles, uh, records?" 962 00:42:06,600 --> 00:42:07,640 [chuckles] And they'd say, "Who?" 963 00:42:07,720 --> 00:42:10,360 And the EMI company wouldn't, which was Capitol, 964 00:42:10,440 --> 00:42:13,120 wouldn't put out our records for some reason. 965 00:42:13,200 --> 00:42:16,000 Somebody else may be able to fill us in on that. 966 00:42:16,080 --> 00:42:17,360 I don't know why. 967 00:42:17,440 --> 00:42:20,840 I would send them to my friends in America at Capitol Records, 968 00:42:20,920 --> 00:42:23,280 and say, "This group is fantastic. 969 00:42:23,360 --> 00:42:25,040 You've got to issue them and you've got to sell them 970 00:42:25,120 --> 00:42:26,120 in the States." 971 00:42:26,400 --> 00:42:29,040 And each time, the Head of Capitol Records, 972 00:42:29,120 --> 00:42:30,880 like St Peter, would turn it down 973 00:42:30,960 --> 00:42:33,560 and deny them, and say, um, 974 00:42:33,640 --> 00:42:35,720 "Sorry. We know our market better than you do, 975 00:42:35,800 --> 00:42:37,320 and we don't think they're any good." 976 00:42:37,400 --> 00:42:39,440 So I would then take the record back from them 977 00:42:39,520 --> 00:42:41,320 and try and get it out with another label. 978 00:42:41,880 --> 00:42:45,720 And I did negotiations with Swan and with Vee-Jay, 979 00:42:46,000 --> 00:42:47,120 each of whom, 980 00:42:47,200 --> 00:42:49,040 just very tiny labels in the States, 981 00:42:49,280 --> 00:42:51,160 took one or the other titles, 982 00:42:51,360 --> 00:42:53,600 and they put those records out in America. 983 00:42:53,800 --> 00:42:55,040 And, of course, being a small label, 984 00:42:55,120 --> 00:42:59,760 they didn't make a great deal of, uh, of... of, um, success. 985 00:43:00,200 --> 00:43:01,480 And that was the way it worked out. 986 00:43:01,560 --> 00:43:03,680 We released, uh, "Please Please Me". 987 00:43:03,760 --> 00:43:06,400 -[♪ "Please Please Me" playing] -♪ Please, please me, whoa, yeah ♪ 988 00:43:06,600 --> 00:43:07,960 -[♪ music concludes] -Flop! "From Me To You". 989 00:43:08,040 --> 00:43:10,480 -[♪ "From Me To You" playing] -♪ With love from me to you ♪ 990 00:43:10,560 --> 00:43:12,720 -[♪ music concludes] -Flop! Changed record labels... 991 00:43:12,800 --> 00:43:15,760 -[♪ "She Loves You" playing] -♪ She loves you, yeah, yeah, yeah ♪ 992 00:43:15,960 --> 00:43:18,600 [Paul] Released "She Loves You". They'd all been big hits in... 993 00:43:18,680 --> 00:43:20,080 -in England. All been No. 1. -[♪ music concludes] 994 00:43:20,480 --> 00:43:21,680 All of them flops. Nothing! 995 00:43:21,760 --> 00:43:22,760 [engineer] Take 2. 996 00:43:22,840 --> 00:43:24,080 [John] No. I think it should start loud, 997 00:43:24,160 --> 00:43:25,360 you know, 'cause when you first hear it. 998 00:43:25,440 --> 00:43:26,640 [George Martin] We're rolling. Here we go. 999 00:43:26,760 --> 00:43:28,240 -[John] Thing I didn't like about-- -[Paul] Shh. Shh. 1000 00:43:28,320 --> 00:43:30,960 Clean beginning. One, two, three. 1001 00:43:31,040 --> 00:43:34,040 [♪ "I Want To Hold Your Hand" playing] 1002 00:43:37,520 --> 00:43:38,720 -[♪ track breaks down] -[engineer] Take 9. 1003 00:43:38,840 --> 00:43:40,400 [♪ guitar intro to "I Want To Hold Your Hand"] 1004 00:43:40,480 --> 00:43:41,800 -[George Martin] Here we go. -[Paul] Shh. 1005 00:43:41,880 --> 00:43:43,400 [John continues playing] I love that. 1006 00:43:43,480 --> 00:43:44,920 [Paul] Shh. Ready? Shh. 1007 00:43:45,000 --> 00:43:46,560 First one very... initial attack. 1008 00:43:46,640 --> 00:43:48,600 -One, two, three. -[♪ intro starts, stops] 1009 00:43:48,680 --> 00:43:50,440 -[Paul] No. The first one a loud... -[guitar being tuned] 1010 00:43:50,520 --> 00:43:51,680 -[John] Oh. -[Paul] ...attack! 1011 00:43:51,760 --> 00:43:53,200 The second one not quite so loud. 1012 00:43:53,360 --> 00:43:55,280 Just try it. Oh... Well, do it anyway. 1013 00:43:55,360 --> 00:43:57,000 We'll just blast that bit, that one bit. 1014 00:43:57,160 --> 00:43:59,200 -[George Martin] Here we go. -[engineer] This is 13. 1015 00:43:59,360 --> 00:44:00,560 [Paul] Hang on, George has... 1016 00:44:00,680 --> 00:44:02,040 -[John] What? -[Paul] Just do it! Do it! 1017 00:44:02,440 --> 00:44:03,560 One, two, three. 1018 00:44:03,640 --> 00:44:06,640 [♪ "I Want To Hold Your Hand" playing] 1019 00:44:10,400 --> 00:44:11,880 ♪ Oh yeah, I... ♪ 1020 00:44:11,960 --> 00:44:12,960 [♪ track breaks down] 1021 00:44:13,040 --> 00:44:14,240 -[John] Do it slower. -[Paul] No! 1022 00:44:14,320 --> 00:44:16,040 [John laughs] I couldn't hear what chords they were going to. 1023 00:44:16,120 --> 00:44:18,480 -[Paul] One, two, three! -[♪ intro starts, breaks down] 1024 00:44:18,560 --> 00:44:19,920 [John] Missed it again. It's me hand's going. 1025 00:44:20,000 --> 00:44:21,840 -[engineer] 17. -[Paul] One, two, three... 1026 00:44:21,920 --> 00:44:23,160 [♪ "I Want To Hold Your Hand" playing] 1027 00:44:23,240 --> 00:44:24,480 [George Martin] "I Want To Hold Your Hand" 1028 00:44:24,560 --> 00:44:26,400 wasn't designed specifically for the American market, 1029 00:44:26,560 --> 00:44:28,920 but like the ones before it, it was a great record. 1030 00:44:29,000 --> 00:44:32,360 ♪ Oh yeah, I'll tell you something ♪ 1031 00:44:33,560 --> 00:44:36,080 ♪ I think you'll understand ♪ 1032 00:44:36,440 --> 00:44:39,400 ♪ When I say that something ♪ 1033 00:44:40,680 --> 00:44:43,800 ♪ I wanna hold your hand ♪ 1034 00:44:44,040 --> 00:44:47,320 ♪ I wanna hold your hand ♪ 1035 00:44:47,840 --> 00:44:50,160 ♪ I wanna hold your hand ♪ 1036 00:44:50,960 --> 00:44:53,840 ♪ Oh, please, say to me ♪ 1037 00:44:55,120 --> 00:44:57,600 ♪ You'll let me be your man ♪ 1038 00:44:57,920 --> 00:45:01,160 ♪ And, please, say to me ♪ 1039 00:45:02,320 --> 00:45:05,520 ♪ You'll let me hold your hand ♪ 1040 00:45:05,880 --> 00:45:09,120 ♪ Now let me hold your hand ♪ 1041 00:45:09,560 --> 00:45:12,040 ♪ I wanna hold your hand ♪ 1042 00:45:13,400 --> 00:45:16,120 [George Martin] By this time, the news from England and Europe 1043 00:45:16,640 --> 00:45:19,520 was overwhelming, that they were a hit group. 1044 00:45:20,840 --> 00:45:23,240 And also, uh, the Swan and Vee-Jay labels 1045 00:45:23,320 --> 00:45:25,520 were making inroads, they were selling by this time. 1046 00:45:26,520 --> 00:45:28,280 So Capitol were forced to release 1047 00:45:28,360 --> 00:45:29,600 "I Want To Hold Your Hand". 1048 00:45:30,480 --> 00:45:31,840 [George] But at that time, I didn't realize 1049 00:45:31,920 --> 00:45:34,280 that Capitol Records had been told, 1050 00:45:34,360 --> 00:45:36,000 you know, "You can... Okay." 1051 00:45:36,080 --> 00:45:37,720 They wanted to have the Beatles, you see. 1052 00:45:37,800 --> 00:45:40,600 Then Brian Epstein said, "Okay. Well, you can have 'em then, 1053 00:45:41,080 --> 00:45:45,640 on condition you spend 70,000 dollars advertising them," 1054 00:45:45,720 --> 00:45:48,360 which sounded enormous, but they did. 1055 00:45:48,440 --> 00:45:50,480 So that was part of the deal. They had to promote us. 1056 00:45:52,160 --> 00:45:55,520 ♪ I wanna hold your hand ♪ 1057 00:45:55,720 --> 00:45:59,760 ♪ I wanna hold your hand ♪ 1058 00:45:59,880 --> 00:46:00,920 [♪ music concludes] 1059 00:46:01,240 --> 00:46:04,360 [♪ "All You Need Is Love" intro playing] 1060 00:46:09,040 --> 00:46:10,800 -[♪ music concludes] -[Paul] The funny thing about France was, 1061 00:46:10,960 --> 00:46:13,600 it was boys screaming. It was boys. So we got... 1062 00:46:14,320 --> 00:46:16,080 [in French accent] ..."Le Beatle! Le Beatle! 1063 00:46:16,160 --> 00:46:18,560 Voilà!" [speaks indistinctly] "Paul! John!" 1064 00:46:18,640 --> 00:46:20,520 It was, like... [chuckles] "Yeah. Oui. Okay," 1065 00:46:20,600 --> 00:46:22,160 you know, like, "Dear me!" 1066 00:46:22,280 --> 00:46:25,480 [George] We had visions of all these French girls, you know, 1067 00:46:25,560 --> 00:46:27,120 "ooh la la" and all that, 1068 00:46:27,240 --> 00:46:30,160 and instead, the audience, at least on the opening night... 1069 00:46:30,240 --> 00:46:31,760 -[crowd chanting] Ringo! -...all seemed to be boys, 1070 00:46:31,880 --> 00:46:33,520 shouting, "Ringo! Ringo!" 1071 00:46:33,600 --> 00:46:36,760 We didn't see any of the Brigitte Bardot kind 1072 00:46:36,840 --> 00:46:38,280 that we were expecting to see. 1073 00:46:38,360 --> 00:46:40,280 [Ringo] It was very strange because, uh, 1074 00:46:40,560 --> 00:46:42,200 suddenly we had all these boys. 1075 00:46:42,280 --> 00:46:46,120 And the audience was like a... a roar instead of a scream, 1076 00:46:46,280 --> 00:46:48,000 where we'd been so used to the girls, you know. 1077 00:46:48,080 --> 00:46:49,680 -[♪ "Twist And Shout" playing] -[Paul] But I don't think 1078 00:46:49,800 --> 00:46:52,360 we went down that well, but I think we built it over the few days, 1079 00:46:52,480 --> 00:46:55,040 we kind of built it up. And, uh, eventually it was... 1080 00:46:55,120 --> 00:46:56,720 it was a bit of a success, you know. 1081 00:46:56,800 --> 00:46:58,200 But it wasn't quite what we were used to. 1082 00:46:58,280 --> 00:46:59,800 We were used to a little bit more 1083 00:47:00,160 --> 00:47:01,720 instant success than that. 1084 00:47:02,480 --> 00:47:04,360 ♪ Ah ♪ 1085 00:47:04,440 --> 00:47:05,800 ♪ Yeah! ♪ 1086 00:47:10,080 --> 00:47:12,160 -[♪ music concludes] -[crowd cheering, applauding] 1087 00:47:12,560 --> 00:47:14,720 [Paul] We got a telegram in the evening. 1088 00:47:14,800 --> 00:47:17,560 After one of the shows, we were having a drink at the hotel, 1089 00:47:17,960 --> 00:47:19,680 and it came... it came, uh, 1090 00:47:20,120 --> 00:47:22,560 "CAPITOL RECORDS... CONGRATULATIONS, LADS! 1091 00:47:22,640 --> 00:47:25,160 NO. 1 IN U.S. CHARTS!" or something. 1092 00:47:25,440 --> 00:47:26,720 So we all hit the roof. 1093 00:47:26,800 --> 00:47:29,360 I remember riding around on Mal Evans's back 1094 00:47:29,440 --> 00:47:31,080 for about 20 minutes, or so, 1095 00:47:31,160 --> 00:47:33,080 "Yeah-he-hey! Whew!" 1096 00:47:33,280 --> 00:47:35,360 And he was, you know, happy to bear me. 1097 00:47:35,760 --> 00:47:39,600 It was just very high, uh, hysterics, you know. 1098 00:47:40,080 --> 00:47:41,440 [George Martin] And Brian rang me 1099 00:47:41,520 --> 00:47:42,960 round about half past one in the morning. 1100 00:47:43,040 --> 00:47:44,960 He said, "I know you won't mind being woken up." 1101 00:47:45,040 --> 00:47:46,640 I said, "Well, I wasn't asleep anyway." 1102 00:47:47,360 --> 00:47:49,200 He said, "Well, I've just heard from America. 1103 00:47:50,080 --> 00:47:51,080 We're No. 1!" 1104 00:47:52,440 --> 00:47:53,600 [inhales deeply] "Fantastic!" 1105 00:47:53,680 --> 00:47:55,720 And he said, "Do you want to come round?" "Not half!" 1106 00:47:55,800 --> 00:47:58,480 So we all went round and had a great drink-up. 1107 00:47:58,760 --> 00:48:01,240 And it was lovely. Super. We never went to bed that night. 1108 00:48:02,040 --> 00:48:03,120 It was a great feeling 1109 00:48:03,200 --> 00:48:06,520 because we were booked to go there 1110 00:48:07,000 --> 00:48:09,360 directly after the Paris trip, so it was, 1111 00:48:09,560 --> 00:48:11,800 you know, it was handy to have a No. 1. 1112 00:48:12,240 --> 00:48:14,200 John, so far, all British pop stars 1113 00:48:14,280 --> 00:48:15,840 have not made a tremendous impact 1114 00:48:15,920 --> 00:48:17,640 on the States. How do you think you're going to fare? 1115 00:48:18,040 --> 00:48:22,240 Well, I can't really say, can I? I mean, is it up to me? No. 1116 00:48:22,320 --> 00:48:24,440 I mean, I just hope we go all right, you know. 1117 00:48:24,600 --> 00:48:25,880 [♪ "I Want To Hold Your Hand" playing] 1118 00:48:26,000 --> 00:48:28,360 ♪ Oh yeah, I'll tell you something ♪ 1119 00:48:29,440 --> 00:48:32,040 ♪ I think you'll understand ♪ 1120 00:48:32,120 --> 00:48:35,440 ♪ When I say that something ♪ 1121 00:48:36,440 --> 00:48:39,840 ♪ I wanna hold your hand ♪ 1122 00:48:40,160 --> 00:48:41,960 ♪ I wanna hold your hand... ♪ 1123 00:48:42,080 --> 00:48:43,280 [John] Yeah, I know on the plane over, 1124 00:48:43,360 --> 00:48:44,640 I was thinking, "Oh, we won't make it," 1125 00:48:44,720 --> 00:48:46,360 or I said it on a film somewhere, you know. 1126 00:48:46,680 --> 00:48:48,880 But that's the side... [chuckles] ...that's that side of me. 1127 00:48:49,280 --> 00:48:50,480 We knew we would wipe it, 1128 00:48:50,560 --> 00:48:52,600 wipe 'em out, if we could just get a grip on you. 1129 00:48:53,560 --> 00:48:55,440 ♪ And, please... ♪ 1130 00:48:55,520 --> 00:48:57,240 [Neil Aspinall] It was like flying into the unknown. 1131 00:48:57,320 --> 00:48:58,760 You didn't know what to expect. 1132 00:48:58,960 --> 00:49:01,520 You know, we were going to... going to America, right? 1133 00:49:01,600 --> 00:49:03,160 And it was the first time for everybody, 1134 00:49:03,240 --> 00:49:04,640 except George, you know. 1135 00:49:05,360 --> 00:49:07,800 ♪ I wanna hold your hand ♪ 1136 00:49:09,360 --> 00:49:15,240 ♪ And when I touch you I feel happy inside ♪ 1137 00:49:16,600 --> 00:49:20,720 ♪ It’s such a feeling that my love ♪ 1138 00:49:21,000 --> 00:49:22,560 ♪ I can’t hide ♪ 1139 00:49:22,880 --> 00:49:24,560 ♪ I can’t hide ♪ 1140 00:49:24,640 --> 00:49:28,480 ♪ I can’t hide ♪ 1141 00:49:28,560 --> 00:49:29,720 ♪ Yeah, you've... ♪ 1142 00:49:29,800 --> 00:49:31,320 [Ringo] I remember before landing, 1143 00:49:31,400 --> 00:49:32,640 it was so exciting. 1144 00:49:32,840 --> 00:49:34,680 As the plane flew over New York, 1145 00:49:35,400 --> 00:49:37,640 I really felt like some, you know, sci-fi movie 1146 00:49:37,720 --> 00:49:40,640 had gone down and a big octopus grabbed the plane 1147 00:49:41,160 --> 00:49:43,160 and was dragging us down to New York, 1148 00:49:43,240 --> 00:49:44,760 and it was all just so exciting. 1149 00:49:44,840 --> 00:49:46,120 This was America, you know. 1150 00:49:46,400 --> 00:49:48,200 Things we'd dreamt about and heard about, 1151 00:49:48,280 --> 00:49:50,320 and all the music we loved had come out of. 1152 00:49:51,560 --> 00:49:53,960 [Paul] All the music we'd loved had come from there 1153 00:49:54,040 --> 00:49:56,600 so, I mean, just to... just to be there was exciting. 1154 00:49:56,960 --> 00:49:58,880 But because we'd made this strange condition 1155 00:49:58,960 --> 00:50:02,760 of being No. 1 before we went, it was like going as princes. 1156 00:50:03,360 --> 00:50:04,760 I mean, you were just, you know, 1157 00:50:04,840 --> 00:50:06,160 there were millions of kids at the airport, 1158 00:50:06,240 --> 00:50:07,400 which nobody expected. 1159 00:50:07,600 --> 00:50:10,680 And we heard about it mid-air, as I recall, you know, 1160 00:50:10,760 --> 00:50:12,520 'cause there were journalists on the plane 1161 00:50:12,640 --> 00:50:14,840 and, you know, the pilot can ring ahead. 1162 00:50:15,240 --> 00:50:18,640 And, um, he said, "Oh, you know, tell the boys 1163 00:50:18,880 --> 00:50:20,720 there's a big crowd waiting for 'em there." 1164 00:50:21,040 --> 00:50:22,920 [Brian Epstein] There was a turning point in their career, 1165 00:50:23,000 --> 00:50:25,200 a specific date on which the breadth and scope 1166 00:50:25,280 --> 00:50:26,920 of their future was to be altered 1167 00:50:27,480 --> 00:50:29,720 and it was the day their Pan Am jet touched down 1168 00:50:29,800 --> 00:50:31,800 at Kennedy International in New York 1169 00:50:31,960 --> 00:50:33,520 to a welcome which has seldom been equaled 1170 00:50:33,640 --> 00:50:34,720 anywhere in history. 1171 00:50:34,800 --> 00:50:38,800 ♪ ...your hand ♪ 1172 00:50:41,120 --> 00:50:43,040 [♪ music concludes] 1173 00:50:43,840 --> 00:50:46,520 [♪ "One After 909" playing] 1174 00:50:49,920 --> 00:50:51,480 ♪ Well, my baby said she's travelling ♪ 1175 00:50:51,560 --> 00:50:54,040 ♪ On the one after 909 ♪ 1176 00:50:56,320 --> 00:50:58,360 ♪ I shaid move over, honey ♪ 1177 00:50:58,600 --> 00:51:00,880 ♪ I'm travelling on that line ♪ 1178 00:51:03,120 --> 00:51:06,480 ♪ I shaid move over once, move over twice ♪ 1179 00:51:07,200 --> 00:51:09,760 ♪ Come on, baby, don't be cold as ice ♪ 1180 00:51:10,160 --> 00:51:14,000 ♪ She said she's travelling on the one after 909 ♪ 1181 00:51:16,200 --> 00:51:17,920 ♪ Well, I begged her not to go ♪ 1182 00:51:18,000 --> 00:51:20,360 ♪ And I begged her on my bended knee ♪ 1183 00:51:22,680 --> 00:51:24,880 ♪ I shaid you're only fooling round ♪ 1184 00:51:25,000 --> 00:51:27,080 ♪ Only fooling round with me ♪ 1185 00:51:29,120 --> 00:51:31,200 ♪ I shaid move over once ♪ 1186 00:51:31,600 --> 00:51:32,920 ♪ Move over twice ♪ 1187 00:51:33,400 --> 00:51:36,480 ♪ Come on, baby, don't be cold as ice ♪ 1188 00:51:36,720 --> 00:51:37,800 ♪ She said she's travelling ♪ 1189 00:51:37,880 --> 00:51:40,600 ♪ On the one after 909 ♪ 1190 00:51:43,360 --> 00:51:44,880 ♪ Pick up my bag ♪ 1191 00:51:46,920 --> 00:51:48,560 ♪ Run to the station ♪ 1192 00:51:49,840 --> 00:51:51,280 ♪ Rail man says ♪ 1193 00:51:52,440 --> 00:51:54,720 ♪ You've got the wrong location ♪ 1194 00:51:54,840 --> 00:51:56,080 ♪ Yeah ♪ 1195 00:51:56,520 --> 00:51:58,040 ♪ Pick up my bag ♪ 1196 00:51:59,800 --> 00:52:01,000 ♪ Run right home ♪ 1197 00:52:03,000 --> 00:52:05,200 ♪ Then I find ♪ 1198 00:52:05,880 --> 00:52:07,920 ♪ You got the number wrong ♪ 1199 00:52:08,000 --> 00:52:09,920 ♪ Well ♪ 1200 00:52:10,000 --> 00:52:11,040 ♪ She said she's travelling ♪ 1201 00:52:11,120 --> 00:52:13,360 ♪ On the one after 909 ♪ 1202 00:52:15,880 --> 00:52:17,680 ♪ I shaid move over, honey ♪ 1203 00:52:17,800 --> 00:52:20,400 ♪ I'm travelling on that line ♪ 1204 00:52:22,480 --> 00:52:24,360 ♪ I shaid move over once ♪ 1205 00:52:24,680 --> 00:52:26,080 ♪ Move over twice ♪ 1206 00:52:26,480 --> 00:52:29,240 ♪ Come on, baby, don't be cold as ice ♪ 1207 00:52:29,800 --> 00:52:30,880 ♪ She said she's travelling ♪ 1208 00:52:30,960 --> 00:52:33,320 ♪ On the one after 909 ♪ 1209 00:52:33,600 --> 00:52:36,680 ♪ Oh yeah, ow! ♪ 1210 00:52:36,760 --> 00:52:38,960 [♪ guitar solo] 1211 00:52:54,720 --> 00:52:56,680 ♪ Well, my baby said she's travelling ♪ 1212 00:52:56,760 --> 00:52:57,760 ♪ On the one af... ♪ 1213 00:52:57,840 --> 00:52:59,280 [John] Oh, fuckin' hell! I told you! 1214 00:52:59,360 --> 00:53:00,360 [Paul] It's you! It's you! 1215 00:53:00,440 --> 00:53:01,480 [John] You said we'd miss out 1216 00:53:01,560 --> 00:53:02,720 the middle eight. Oh. 1217 00:53:02,800 --> 00:53:03,880 [Paul] You've come in on the wrong-- 1218 00:53:03,960 --> 00:53:05,000 halfway through the solo. 1219 00:53:05,360 --> 00:53:06,360 [John] What was it, 12-bar? 1220 00:53:06,440 --> 00:53:07,640 [George Martin] Yeah, yeah. 12-bar solo. 1221 00:53:07,720 --> 00:53:09,160 [Paul] It wasn't, it was... [strums guitar chord]