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♪
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00:00:02,900 --> 00:00:04,630
♪ 1, 2, 3, 1
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[ The Beatles's "Sgt. Pepper's
Lonely Hearts Club Band" plays ]
4
00:00:08,733 --> 00:00:11,903
-We were driving to a gig
in an old Zephyr 4,
5
00:00:12,000 --> 00:00:15,800
when "Sgt. Pepper" was played
for the first time on the radio.
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And I remember, we pulled off
into a lay-by
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and sat there and listened.
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-♪ Sgt. Pepper's
Lonely Hearts Club Band ♪
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♪ We hope you will enjoy
the show ♪
10
00:00:27,400 --> 00:00:32,170
-And I remember we just looked
at each other, "...me!"
11
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-The way George Martin had
musically put that together,
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I thought,
"Where do we go from here?"
13
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-All right here we go.
-Okay, Richard?
14
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-Yeah...
[ Speaks indistinctly ]
15
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-It's the birth of
a new art form.
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They were starting to make music
that you couldn't actually play.
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It couldn't exist outside of
a recording studio.
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-They did it first.
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It revolutionized the way that
people worked in studios.
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You could say that from then on,
it's like the rule book's
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00:00:57,266 --> 00:00:59,866
out the window because you're
no longer trying to represent
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00:00:59,966 --> 00:01:01,066
something as it was.
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00:01:01,166 --> 00:01:02,826
-♪ I
24
00:01:02,933 --> 00:01:06,633
♪ I love the colorful
clothes she wears ♪
25
00:01:06,733 --> 00:01:13,073
♪ And the way the sunlight
plays upon her hair ♪
26
00:01:13,166 --> 00:01:16,626
♪ I hear the sound of a...
27
00:01:16,733 --> 00:01:20,473
-In the '60s, multitrack
recording began to redefine
28
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what music could be
29
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and turned the studio
into a sonic laboratory.
30
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-♪ I'm picking up
good vibrations ♪
31
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♪ She's giving me excitations
32
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-It was like a strange place,
33
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full of like, crazy scientists,
34
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electricians, madmen.
35
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-Just having the time to
experiment in the studio
36
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was a radical change.
37
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90 hours working on one song.
38
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Everyone thought
that was insanity.
39
00:01:50,666 --> 00:01:53,196
-As recording technology
evolved,
40
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a sense of limitless possibility
led some bands astray.
41
00:01:56,966 --> 00:01:58,296
-It reached the point where,
42
00:01:58,400 --> 00:02:00,030
the ability to stay in
the studio as long as you want
43
00:02:00,133 --> 00:02:02,233
and spend as much money
as you want,
44
00:02:02,333 --> 00:02:05,273
may not necessarily have been
an entirely good thing.
45
00:02:05,366 --> 00:02:07,796
[ Radiohead's "Bodysnatchers"
playing ]
46
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-You know,
you can produce a band
47
00:02:09,400 --> 00:02:12,100
that will play their songs
perfectly in a room,
48
00:02:12,200 --> 00:02:14,870
and your job as a producer
will be to recreate that.
49
00:02:14,966 --> 00:02:17,626
-♪ It is the 21st century
50
00:02:17,733 --> 00:02:20,673
♪ It is
the 21st century ♪
51
00:02:20,766 --> 00:02:22,526
♪ You can fight like a dog
52
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-Or you can use the studio as
a musical instrument.
53
00:02:26,733 --> 00:02:28,033
That's an art form.
54
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♪
55
00:02:30,900 --> 00:02:32,300
♪ I've seen it coming
56
00:02:32,400 --> 00:02:35,100
-You know, anything is possible,
anything is right.
57
00:02:35,200 --> 00:02:36,800
And that's what's exciting.
58
00:02:36,900 --> 00:02:40,700
♪
59
00:02:43,466 --> 00:02:45,596
♪
60
00:02:45,700 --> 00:02:47,870
-Okay, then. Okay.
61
00:02:47,966 --> 00:02:51,896
-It'll be an F for you.
62
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-Here we go.
63
00:02:53,366 --> 00:02:55,666
Just one more time.
64
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-Right after I say,
"Are you sure?"
65
00:02:57,966 --> 00:02:59,066
Da da da -- yeah.
66
00:02:59,166 --> 00:03:00,396
-Oh.
67
00:03:02,433 --> 00:03:04,633
-Hal, here's how I want
to do it. Takes like this.
68
00:03:04,733 --> 00:03:06,773
-All right, it's fun time.
Fun time.
69
00:03:06,866 --> 00:03:08,196
-Here we go.
70
00:03:08,300 --> 00:03:12,300
-Oh, really?
-17, take one.
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-This will be the keeper.
-[Laughs]
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♪
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♪
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00:03:27,866 --> 00:03:31,696
[ Boston's "More Than A Feeling"
playing ]
75
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-♪ I looked out this morning,
and the sun was gone ♪
76
00:03:41,133 --> 00:03:45,203
♪ Turned on some music
to start my day ♪
77
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-In 1976, a band named Boston
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had a hit single called
"More Than a Feeling."
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What no one knew was that Boston
really wasn't a band at all.
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♪
81
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-Boston was a result of me
tinkering in a basement
82
00:04:02,000 --> 00:04:04,670
with my multitrack
recording studio.
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00:04:04,766 --> 00:04:06,796
-♪ It's more than a feeling
84
00:04:06,900 --> 00:04:08,230
-♪ More than a feeling
85
00:04:08,333 --> 00:04:11,603
-♪ When I hear that old song
they used to play ♪
86
00:04:11,700 --> 00:04:13,800
-♪ More than a feeling
87
00:04:13,900 --> 00:04:17,200
-It was a really personal
endeavor.
88
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I worked in my own space,
my own time,
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00:04:20,166 --> 00:04:22,726
put a rhythm guitar part on,
and then another one,
90
00:04:22,833 --> 00:04:24,903
and then a bass track,
keyboards.
91
00:04:25,000 --> 00:04:27,930
And then I called Brad Delp
to see if he wanted
92
00:04:28,033 --> 00:04:30,703
to sing the vocals,
which, thankfully, he did.
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00:04:30,800 --> 00:04:33,870
-♪ Ah
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♪ ah
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♪
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-So I basically threw
a band together
97
00:04:39,300 --> 00:04:44,300
to be able to play
the songs live.
98
00:04:44,400 --> 00:04:47,400
Not only didn't
the record company --
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00:04:47,500 --> 00:04:49,400
not only were they not aware
100
00:04:49,500 --> 00:04:52,170
that I was making a record
in my basement,
101
00:04:52,266 --> 00:04:54,396
but they never became aware
that the record
102
00:04:54,500 --> 00:04:56,430
that they were selling millions
of copies of
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was made in a basement.
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♪
105
00:05:00,166 --> 00:05:02,026
Multitracking allowed you
106
00:05:02,133 --> 00:05:05,873
to put music together
and change it.
107
00:05:05,966 --> 00:05:09,326
And the reason it was cool is
because this gave you basically
108
00:05:09,433 --> 00:05:11,203
a whole new medium.
109
00:05:11,300 --> 00:05:13,470
At one point,
someone explained to me,
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00:05:13,566 --> 00:05:16,326
older than I was,
that this whole process
111
00:05:16,433 --> 00:05:19,503
of recording
on multitrack recorders
112
00:05:19,600 --> 00:05:21,400
was invented by this guy
Les Paul
113
00:05:21,500 --> 00:05:23,770
and I said,
"Wow, what a coincidence,
114
00:05:23,866 --> 00:05:26,796
there's a guitar
that's named a Les Paul."
115
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And he says, "Yeah,
there's a good reason for that."
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♪
117
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-Les Paul not only designed
some guitars that made
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00:05:34,833 --> 00:05:35,973
new and incredible sounds,
119
00:05:36,066 --> 00:05:38,926
but had this vision
for recording studios.
120
00:05:39,033 --> 00:05:41,233
He invented
multitrack recording.
121
00:05:41,333 --> 00:05:44,003
I mean that --
that changed everything.
122
00:05:44,100 --> 00:05:47,130
[ playing
"How High the Moon" ]
123
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-♪ Somewhere there's music
124
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♪ How faint the tune
125
00:05:51,500 --> 00:05:52,970
♪ Somewhere there's heaven
126
00:05:53,066 --> 00:05:54,796
♪ How high the moon
127
00:05:54,900 --> 00:05:58,970
-The records I heard by Les Paul
and Mary Ford, in the '50s,
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00:05:59,066 --> 00:06:02,226
I was even aware then that --
without any knowledge of, um,
129
00:06:02,333 --> 00:06:03,473
of recording techniques,
130
00:06:03,566 --> 00:06:06,296
that they were doing
something revolutionary.
131
00:06:06,400 --> 00:06:09,500
-Uh, you turn
the tape machines on.
132
00:06:09,600 --> 00:06:13,100
They're just a standard,
regular, uh, Ampex tape machine.
133
00:06:13,200 --> 00:06:14,370
-Mm-hmm.
134
00:06:14,466 --> 00:06:16,726
As I recall, there are, uh,
about a dozen
135
00:06:16,833 --> 00:06:18,403
or 20 voices come in there.
136
00:06:18,500 --> 00:06:20,030
Now, where --
whose are the voices?
137
00:06:20,133 --> 00:06:21,233
-That's Mary.
138
00:06:21,333 --> 00:06:23,073
-You mean they're all
Mary's voices?
139
00:06:23,166 --> 00:06:26,866
-♪ Somewhere there's music,
how faint the tune ♪
140
00:06:26,966 --> 00:06:31,696
♪ Somewhere there's heaven,
how high the moon ♪
141
00:06:31,800 --> 00:06:33,930
Now, I'll add a tenor part
to that.
142
00:06:34,033 --> 00:06:36,473
-All right.
-Wait a minute.
143
00:06:36,566 --> 00:06:38,266
-[ voices doubled, harmonizing ]
♪ Somewhere there's music
144
00:06:38,366 --> 00:06:40,366
♪ How faint the tune
145
00:06:40,466 --> 00:06:45,566
♪ Somewhere there's heaven,
how high the moon ♪
146
00:06:45,666 --> 00:06:47,266
-Well, how long can this go on
without getting awfully confused
147
00:06:47,366 --> 00:06:48,466
in your head?
148
00:06:48,566 --> 00:06:50,226
-[ Laughs ]
It's pretty confusing.
149
00:06:50,333 --> 00:06:51,633
-Or being cued by your husband?
150
00:06:51,733 --> 00:06:53,333
-Well, uh, would you like to
hear the third part?
151
00:06:53,433 --> 00:06:54,773
-Yes.
152
00:06:54,866 --> 00:06:57,096
-♪ Somewhere there's music,
how faint the tune ♪
153
00:06:57,200 --> 00:06:59,370
♪ Oh, oh, oh, oh
154
00:06:59,466 --> 00:07:02,926
♪ Somewhere there's heaven,
how high the moon ♪
155
00:07:03,033 --> 00:07:06,273
♪
156
00:07:06,366 --> 00:07:11,466
♪ Ah, ah, ah, ah, ah,
ah, ah, ah, ah ♪
157
00:07:11,566 --> 00:07:12,666
-Les Paul, I mean,
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00:07:12,766 --> 00:07:15,626
he made sounds no one had
ever heard before.
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00:07:15,733 --> 00:07:17,233
I remember my mom saying that
160
00:07:17,333 --> 00:07:20,333
you shouldn't listen
to this music. It's fake.
161
00:07:20,433 --> 00:07:22,933
She said, "It's one guy
tricking us."
162
00:07:23,033 --> 00:07:25,773
So I said, "That's it!
That's the music for me."
163
00:07:25,866 --> 00:07:28,726
Because it enabled me to be
rebellious, you know, as well.
164
00:07:28,833 --> 00:07:30,973
And I enjoyed the sound.
165
00:07:31,066 --> 00:07:32,396
I don't think you can beat that.
166
00:07:32,500 --> 00:07:33,830
I mean the way that those
records sound,
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00:07:33,933 --> 00:07:35,803
is it's still exciting.
168
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-♪ How high the moon
169
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[ Song ends ]
170
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[ Applause ]
171
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[ Beeping ]
-Now come on. Give it to me,
172
00:07:47,133 --> 00:07:49,173
Let me hear that, the whistle
and the sax, once more, ready?
173
00:07:49,266 --> 00:07:50,496
That's right.
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00:07:50,600 --> 00:07:53,500
♪
175
00:07:53,600 --> 00:07:56,670
-Before magnetic tape, an artist
would come into the studio
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00:07:56,766 --> 00:07:59,826
and they would be recorded live.
177
00:07:59,933 --> 00:08:02,073
What they would do is literally
etch the grooves
178
00:08:02,166 --> 00:08:06,766
into the disc as the session
was being recorded.
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00:08:06,866 --> 00:08:10,096
You had to start from
the beginning and go to the end.
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00:08:10,200 --> 00:08:11,900
If you made any mistakes,
181
00:08:12,000 --> 00:08:14,030
too bad, or you had to
start over.
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00:08:14,133 --> 00:08:17,473
♪
183
00:08:20,833 --> 00:08:24,103
Magnetic tape -- it just changed
music completely.
184
00:08:24,200 --> 00:08:27,630
It gave you the possibility to
record in fidelity that was
185
00:08:27,733 --> 00:08:29,933
better than anyone had ever
even come close to,
186
00:08:30,033 --> 00:08:31,773
so you can make
a more accurate document.
187
00:08:31,866 --> 00:08:34,766
At the same time,
it lets you manipulate sounds,
188
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so it didn't sound
lifelike at all
189
00:08:36,266 --> 00:08:38,396
because now you can edit.
190
00:08:38,500 --> 00:08:42,030
You can overdub,
you could cut and splice.
191
00:08:42,133 --> 00:08:43,773
Once the technology came out,
192
00:08:43,866 --> 00:08:46,666
it very quickly became
the standard format.
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♪
194
00:08:49,033 --> 00:08:51,703
[ Music changes ]
195
00:08:55,266 --> 00:08:57,026
-When I walked into
Abbey Road Studios
196
00:08:57,133 --> 00:08:59,603
for the first time in 1950,
197
00:08:59,700 --> 00:09:03,900
I was astonished at how
primitive it was.
198
00:09:04,000 --> 00:09:09,230
They were still recording on
discs that were cut by a lathe.
199
00:09:09,333 --> 00:09:13,103
From 1950 on, I just worked away
and I had various ideas.
200
00:09:13,200 --> 00:09:16,600
I was experimenting
with the newfangled tape,
201
00:09:16,700 --> 00:09:22,470
and I was able to learn what you
could do to manipulate sound.
202
00:09:22,566 --> 00:09:24,626
You can cut, you can edit.
203
00:09:24,733 --> 00:09:27,403
Obviously, you can slow down
or speed up your tape.
204
00:09:27,500 --> 00:09:29,430
You can put in backwards stuff.
205
00:09:29,533 --> 00:09:31,333
And this is the kind of thing
you can do on recording that you
206
00:09:31,433 --> 00:09:32,803
obviously couldn't
possibly do live,
207
00:09:32,900 --> 00:09:35,470
because it is, in fact,
making up music as you go along.
208
00:09:35,566 --> 00:09:36,996
[ Click ]
209
00:09:37,100 --> 00:09:39,770
-Fleet 1, uh, take 6.
210
00:09:39,866 --> 00:09:42,096
-How could I dance?
She'll really dance.
211
00:09:42,200 --> 00:09:43,500
I'll never dance.
212
00:09:43,600 --> 00:09:44,900
♪
213
00:09:45,000 --> 00:09:46,630
-When I first met The Beatles,
214
00:09:46,733 --> 00:09:49,403
I had so little time with them
in the studio because
215
00:09:49,500 --> 00:09:53,330
they were incredibly busy
all the time.
216
00:09:53,433 --> 00:09:56,133
I would have maybe
a day and a half here,
217
00:09:56,233 --> 00:09:58,373
and a couple of days there.
218
00:09:58,466 --> 00:10:00,866
As a result of that,
the songs that they produced,
219
00:10:00,966 --> 00:10:05,066
which were marvelous,
were still fairly basic.
220
00:10:05,166 --> 00:10:06,566
-2, 3, 4...
221
00:10:06,666 --> 00:10:11,026
[ The Beatles's "I Saw Her
Standing There" playing ]
222
00:10:11,133 --> 00:10:13,933
-♪ Well, she was just 17
223
00:10:14,033 --> 00:10:16,273
-The first album
only took us 12 hours.
224
00:10:16,366 --> 00:10:18,166
I mean, we all knew
those songs so well
225
00:10:18,266 --> 00:10:20,096
because that was our live show.
226
00:10:20,200 --> 00:10:22,900
We were just in there
doing the gig, really.
227
00:10:23,000 --> 00:10:27,370
-♪ So how could I dance
with another? ♪
228
00:10:27,466 --> 00:10:28,596
♪ Oh
229
00:10:28,700 --> 00:10:32,500
♪ When I saw her
standing there ♪
230
00:10:32,600 --> 00:10:34,530
♪
231
00:10:34,633 --> 00:10:37,973
-The old approach was that
the band rehearsed,
232
00:10:38,066 --> 00:10:39,326
went into the studio,
233
00:10:39,433 --> 00:10:41,573
stood in front of some
microphones and played them.
234
00:10:41,666 --> 00:10:45,166
And the job of the producer was
maybe to mix them well
235
00:10:45,266 --> 00:10:47,966
or put a bit of reverb
or echo on them.
236
00:10:48,066 --> 00:10:50,796
But essentially the music
wasn't transformed.
237
00:10:50,900 --> 00:10:53,570
-♪ Whoo, and I saw her...
238
00:10:53,666 --> 00:10:57,996
-The Beatles were over
that phase by about 1966.
239
00:10:58,100 --> 00:11:00,530
With the help of George Martin,
they were starting to
240
00:11:00,633 --> 00:11:03,133
make music that you couldn't
actually play.
241
00:11:03,233 --> 00:11:06,533
It couldn't exist outside
of a recording studio.
242
00:11:06,633 --> 00:11:08,973
It's very difficult to imagine
what The Beatles would have
243
00:11:09,066 --> 00:11:11,026
sounded like without
George Martin.
244
00:11:11,133 --> 00:11:15,673
[ The Beatles's "Rain" playing ]
245
00:11:15,766 --> 00:11:18,866
What's wonderful about this
moment in time
246
00:11:18,966 --> 00:11:23,226
is that 4-track recording
opened up the possibilities
247
00:11:23,333 --> 00:11:26,173
to use the studio
in the creative palette.
248
00:11:26,266 --> 00:11:32,166
So The Beatles's transition
from a garage band group
249
00:11:32,266 --> 00:11:33,666
that's standing around the mic,
250
00:11:33,766 --> 00:11:35,826
playing and singing
"Please Please Me"
251
00:11:35,933 --> 00:11:40,603
and "I Saw Her Standing There,"
into a decisive recording group.
252
00:11:40,700 --> 00:11:41,700
-♪ Rain
253
00:11:41,800 --> 00:11:45,230
♪
254
00:11:48,466 --> 00:11:50,796
♪ I don't mind
255
00:11:50,900 --> 00:11:54,070
♪
256
00:11:54,166 --> 00:12:01,526
♪ Shine
257
00:12:01,633 --> 00:12:03,573
♪ The weather's fine
258
00:12:03,666 --> 00:12:09,826
-They start to use technology to
create sounds and sonic textures
259
00:12:09,933 --> 00:12:12,873
that had never been heard
in rock music.
260
00:12:12,966 --> 00:12:14,466
-The Beatles revolutionized
261
00:12:14,566 --> 00:12:16,766
the way that people worked
in studios.
262
00:12:16,866 --> 00:12:18,366
You know, on "Rain,"
263
00:12:18,466 --> 00:12:20,166
it's the first time there's
anything backwards on a record.
264
00:12:20,266 --> 00:12:22,026
And you can say that, like,
from that moment on,
265
00:12:22,133 --> 00:12:24,173
it's like, oh, the rule book's
out the window
266
00:12:24,266 --> 00:12:25,496
because you're no longer trying
267
00:12:25,600 --> 00:12:27,770
to represent something
as it was.
268
00:12:27,866 --> 00:12:30,926
You're...you're trying to
break it,
269
00:12:31,033 --> 00:12:32,703
break your perception of
this band, you know,
270
00:12:32,800 --> 00:12:34,400
there's this band
playing in a room.
271
00:12:34,500 --> 00:12:37,530
♪
272
00:12:43,266 --> 00:12:45,966
[ "Rain" plays backwards ]
273
00:12:51,500 --> 00:12:54,830
It's more fun in the record if
there's a few sounds that you
274
00:12:54,933 --> 00:12:56,303
don't really know what they are,
275
00:12:56,400 --> 00:12:58,070
and really they're just
instruments,
276
00:12:58,166 --> 00:12:59,166
only something happens on here.
277
00:12:59,266 --> 00:13:00,296
You know,
I couldn't tell you what,
278
00:13:00,400 --> 00:13:01,500
'cause we have a special man
279
00:13:01,600 --> 00:13:03,670
who sits here
and goes like this.
280
00:13:03,766 --> 00:13:07,626
And the guitar turns into
a piano or something, you know.
281
00:13:07,733 --> 00:13:09,733
And then you may say,
"Why don't you use a piano?"
282
00:13:09,833 --> 00:13:11,803
Because the piano sounds
like a guitar.
283
00:13:11,900 --> 00:13:14,530
[ The Spencer Davis Group's
"Gimme Some Lovin'" plays]
284
00:13:14,633 --> 00:13:16,973
-♪ Well,
my temperature's rising ♪
285
00:13:17,066 --> 00:13:18,426
♪ Got my feet on the floor
286
00:13:18,533 --> 00:13:21,433
♪ Crazy people rocking
'cause they want some more ♪
287
00:13:21,533 --> 00:13:25,073
-We were all on this ship
in the '60s, our generation,
288
00:13:25,166 --> 00:13:28,596
and we were part of it
and we went somewhere.
289
00:13:28,700 --> 00:13:31,900
-♪ So glad you made it
290
00:13:32,000 --> 00:13:33,300
♪ So glad you...
291
00:13:33,400 --> 00:13:38,370
-There was a great upsurge of
energy and consciousness.
292
00:13:38,466 --> 00:13:41,726
And so there was a lot of
excitement on the street.
293
00:13:41,833 --> 00:13:45,403
There was a lot of people who
were all trying to go on
294
00:13:45,500 --> 00:13:47,200
the same trip together.
295
00:13:47,300 --> 00:13:50,600
♪
296
00:13:50,700 --> 00:13:54,330
-On "Revolver," The Beatles
wanted to make the music that
297
00:13:54,433 --> 00:13:56,833
was going on in their heads.
298
00:13:56,933 --> 00:14:01,073
The first song they worked on
was a song of John's.
299
00:14:01,166 --> 00:14:03,826
It had the mysterious title
"Mark I,"
300
00:14:03,933 --> 00:14:07,273
which of course becomes
"Tomorrow Never Knows."
301
00:14:07,366 --> 00:14:10,526
-That's me in my Tibetan
Book of the Dead period.
302
00:14:10,633 --> 00:14:12,533
I gave it a throwaway title
because I was a bit
303
00:14:12,633 --> 00:14:15,173
self-conscious about the lyrics
of "Tomorrow Never Knows,"
304
00:14:15,266 --> 00:14:17,526
so I took one of Ringo's
malapropisms,
305
00:14:17,633 --> 00:14:20,873
which was like
"Hard Day's Night."
306
00:14:20,966 --> 00:14:23,196
-"Tomorrow Never Knows,"
that's a song
307
00:14:23,300 --> 00:14:27,400
that pretty vividly depicts
what you're hearing in your head
308
00:14:27,500 --> 00:14:30,770
when you consume some
psychedelics.
309
00:14:30,866 --> 00:14:35,726
The Beatles laid that out
for everybody to hear.
310
00:14:35,833 --> 00:14:38,203
-"Tomorrow Never Knows"
was a very weird song.
311
00:14:38,300 --> 00:14:40,900
The tune had virtually
no harmonies,
312
00:14:41,000 --> 00:14:44,570
it was based on
a continuous drone of sound.
313
00:14:44,666 --> 00:14:49,626
[ "Tomorrow Never Knows"
playing ]
314
00:14:49,733 --> 00:14:51,633
-"Tomorrow Never Knows" started
with a backing track,
315
00:14:51,733 --> 00:14:54,473
recorded here
at Abbey Road studios.
316
00:14:54,566 --> 00:14:56,096
That's Paul on bass
and Ringo on drums,
317
00:14:56,200 --> 00:14:59,870
creating a sort of loopy,
mesmeric effect.
318
00:14:59,966 --> 00:15:04,166
♪
319
00:15:04,266 --> 00:15:08,326
To this, John added his vocal,
with George playing tambura.
320
00:15:08,433 --> 00:15:09,803
-♪ Turn off your mind
321
00:15:09,900 --> 00:15:14,900
♪ Relax and float downstream
322
00:15:15,000 --> 00:15:18,700
♪ It is not dying
323
00:15:18,800 --> 00:15:21,730
♪ It is not dying
324
00:15:21,833 --> 00:15:27,473
-Late in the song, John's voice
gets very unusual-sounding,
325
00:15:27,566 --> 00:15:29,726
especially at the time it was.
326
00:15:29,833 --> 00:15:34,633
-John wanted to sound like
the Dalai Lama chanting
327
00:15:34,733 --> 00:15:37,033
from the top of a mountain.
328
00:15:37,133 --> 00:15:40,303
And he suggested that the way
that they record that would be
329
00:15:40,400 --> 00:15:41,900
to put him in a harness,
330
00:15:42,000 --> 00:15:44,330
to hoist him high
above the studio,
331
00:15:44,433 --> 00:15:47,533
give him a shove, and he'd --
332
00:15:47,633 --> 00:15:49,833
he'd sing every time
he came around,
333
00:15:49,933 --> 00:15:52,333
the mic would capture
a few beats of it.
334
00:15:52,433 --> 00:15:55,603
-Which wasn't the most
practical idea.
335
00:15:55,700 --> 00:15:59,470
But the engineer, Geoff Emerick,
had the great idea of
336
00:15:59,566 --> 00:16:04,366
plugging it into a revolving
speaker, called a Leslie.
337
00:16:04,466 --> 00:16:07,196
So when it goes fast,
it creates one sound,
338
00:16:07,300 --> 00:16:10,400
and when it slows down,
it creates another.
339
00:16:10,500 --> 00:16:16,330
-♪ That you may see
the meaning of within ♪
340
00:16:16,433 --> 00:16:18,133
-In the early part of the song,
341
00:16:18,233 --> 00:16:19,933
John's voice is pretty
straightforward.
342
00:16:20,033 --> 00:16:21,903
Then, after about 1 1/2 minutes,
343
00:16:22,000 --> 00:16:25,430
the Leslie speaker effect
kicks in.
344
00:16:25,533 --> 00:16:32,503
-[ Hollow sound ] ♪ That love is
all and love is everyone ♪
345
00:16:32,600 --> 00:16:36,370
♪ It is knowing
346
00:16:36,466 --> 00:16:39,826
♪ It is knowing
347
00:16:39,933 --> 00:16:42,603
-The Beatles always looked for
other sounds in their records,
348
00:16:42,700 --> 00:16:43,970
and they all had tape machines,
349
00:16:44,066 --> 00:16:47,726
which they used
for recording demos.
350
00:16:47,833 --> 00:16:49,703
And they found that
by making tape loops,
351
00:16:49,800 --> 00:16:53,300
they could create sounds that
people had never heard before.
352
00:16:53,400 --> 00:16:55,770
One of the most recognizable
loops on "Tomorrow Never Knows"
353
00:16:55,866 --> 00:16:58,496
is the sound of -- well, it
sounds like seagulls squawking.
354
00:16:58,600 --> 00:17:01,630
It's actually the sound of,
I think, Paul laughing.
355
00:17:01,733 --> 00:17:05,373
Um, and speeding himself up,
which is this.
356
00:17:05,466 --> 00:17:10,996
[ Squeaking sounds ]
357
00:17:11,099 --> 00:17:13,669
-Another loop is just made up
of guitars being recorded
358
00:17:13,766 --> 00:17:16,026
over and over again, again,
sped up and slowed down,
359
00:17:16,133 --> 00:17:19,673
turned backwards
and they sound like trumpets.
360
00:17:19,766 --> 00:17:23,526
[ High-pitched trumpeting ]
361
00:17:26,800 --> 00:17:28,400
And then,
early days of sampling,
362
00:17:28,500 --> 00:17:33,470
Paul actually recorded
an orchestra off a vinyl record
363
00:17:33,566 --> 00:17:35,126
and created a chord here.
364
00:17:35,233 --> 00:17:39,233
[ Orchestral music playing ]
365
00:17:39,333 --> 00:17:41,173
[ Rock plays ]
366
00:17:41,266 --> 00:17:42,666
-I had a bit of a problem.
367
00:17:42,766 --> 00:17:45,796
How were we going to use
the collection of sounds?
368
00:17:45,900 --> 00:17:49,970
I devised a way of playing
five loops at the same time,
369
00:17:50,066 --> 00:17:51,966
and if you brought up
the faders,
370
00:17:52,066 --> 00:17:54,026
it was like bringing up
an organ stop.
371
00:17:54,133 --> 00:17:57,773
Each one had a different
tape loop playing all the time,
372
00:17:57,866 --> 00:18:00,966
so you could make your sound
as you wished.
373
00:18:01,066 --> 00:18:02,766
-And these tape loops were
running and running and running,
374
00:18:02,866 --> 00:18:04,366
and The Beatles and my dad
375
00:18:04,466 --> 00:18:06,926
and Geoff Emerick
performed on the desk.
376
00:18:07,033 --> 00:18:08,933
♪
377
00:18:09,033 --> 00:18:11,803
Pushing up faders
at the right time
378
00:18:11,900 --> 00:18:13,070
in order to create
the instrument sounds
379
00:18:13,166 --> 00:18:14,696
they wanted for the mix.
380
00:18:14,800 --> 00:18:17,870
[ Trumpeting ]
381
00:18:17,966 --> 00:18:19,966
So, the actual mix of
"Tomorrow Never Knows"
382
00:18:20,066 --> 00:18:22,026
is a performance;
it can't be recreated.
383
00:18:22,133 --> 00:18:25,203
-♪ It is being
384
00:18:25,300 --> 00:18:28,670
♪ It is being
385
00:18:28,766 --> 00:18:33,126
♪
386
00:18:36,800 --> 00:18:38,670
-If you look at everything
that's happening
387
00:18:38,766 --> 00:18:40,296
in that recording,
388
00:18:40,400 --> 00:18:44,070
it's like a prophecy
of pop music in one song.
389
00:18:44,166 --> 00:18:47,726
With the sampling and the loops,
there's so much happening there
390
00:18:47,833 --> 00:18:53,473
that will be active for
the next four or five decades.
391
00:18:53,566 --> 00:18:56,066
-♪ It is knowing
392
00:18:56,166 --> 00:18:59,596
-You can look at hip-hop
and using samples
393
00:18:59,700 --> 00:19:01,500
or scratching in music,
394
00:19:01,600 --> 00:19:04,630
The Beatles were doing that
on "Tomorrow Never Knows."
395
00:19:04,733 --> 00:19:08,673
That song makes you rethink
what music is.
396
00:19:08,766 --> 00:19:09,766
It's that profound.
397
00:19:09,866 --> 00:19:11,696
-♪ Or play the game
398
00:19:11,800 --> 00:19:16,830
♪ Existence to the end
399
00:19:16,933 --> 00:19:20,773
♪ Of the beginning
400
00:19:20,866 --> 00:19:23,766
♪ Of the beginning
401
00:19:23,866 --> 00:19:28,326
-This was the dawn of creating
a new kind of magic.
402
00:19:28,433 --> 00:19:31,503
This was really fantasy stuff.
403
00:19:31,600 --> 00:19:34,630
♪
404
00:19:39,766 --> 00:19:42,466
-Okay,
"Wouldn't It Be Nice," take 5.
405
00:19:42,566 --> 00:19:44,096
[ Drumsticks clacking ]
406
00:19:44,200 --> 00:19:47,230
[ The Beach Boys's
"Wouldn't It Be Nice" playing ]
407
00:19:53,666 --> 00:19:57,766
♪
408
00:19:57,866 --> 00:20:00,166
-I think that kind
of friendly competition
409
00:20:00,266 --> 00:20:02,866
between The Beatles
and the Beach Boys
410
00:20:02,966 --> 00:20:06,196
really advanced the cause of
popular music.
411
00:20:06,300 --> 00:20:10,170
Brian Wilson heard "Rubber Soul"
and understood that there was
412
00:20:10,266 --> 00:20:13,126
a whole other place where you
could take rock and roll,
413
00:20:13,233 --> 00:20:19,803
that that was an elevated
musical consciousness at play.
414
00:20:19,900 --> 00:20:21,970
-Brian was listening to what
The Beatles were doing
415
00:20:22,066 --> 00:20:25,726
in the studio, and he was
completely knocked out.
416
00:20:25,833 --> 00:20:28,603
Hearing that made him realize
that he had to up the ante
417
00:20:28,700 --> 00:20:30,830
on his next album,
which was "Pet Sounds."
418
00:20:30,933 --> 00:20:34,403
-♪ You know it's gonna make it
that much better ♪
419
00:20:34,500 --> 00:20:39,930
♪ When we can say goodnight
and stay together ♪
420
00:20:40,033 --> 00:20:44,273
-He told me that he and Carl
used to pray before each session
421
00:20:44,366 --> 00:20:48,126
that they would make a record
that would be warmer
422
00:20:48,233 --> 00:20:50,833
and more inspirational
than "Rubber Soul."
423
00:20:50,933 --> 00:20:52,303
-None of those big pickups --
♪ Ba, ba
424
00:20:52,400 --> 00:20:55,500
Just uh, just like uh...
425
00:20:55,600 --> 00:20:56,700
♪ Doo-do, doo-do
426
00:20:56,800 --> 00:20:59,830
-Brian pre-imagined everything
that he did.
427
00:20:59,933 --> 00:21:04,033
He heard all of the vocal parts,
all of the instrumental parts,
428
00:21:04,133 --> 00:21:07,003
even before anyone set foot
in the studio.
429
00:21:07,100 --> 00:21:08,670
Brian was the mastermind.
430
00:21:08,766 --> 00:21:12,796
-I'd like to start it out now
this time with the, uh,
431
00:21:12,900 --> 00:21:15,670
organ and the Fender bass,
and then the bongos will come in
432
00:21:15,766 --> 00:21:16,966
at the second half
like everything else.
433
00:21:17,066 --> 00:21:17,996
All right, here we go.
434
00:21:18,100 --> 00:21:20,100
-1, rolling...
435
00:21:20,200 --> 00:21:24,230
-1, 2.
1, 2, 3...
436
00:21:24,333 --> 00:21:27,233
-Ironically, the only song
from the "Pet Sounds" sessions
437
00:21:27,333 --> 00:21:29,973
that reached number one
was recorded
438
00:21:30,066 --> 00:21:33,296
after the album was released
and it was the result
439
00:21:33,400 --> 00:21:36,730
of an unprecedented number
of hours in the studio.
440
00:21:36,833 --> 00:21:39,033
-Time was nothing
to Brian Wilson.
441
00:21:39,133 --> 00:21:43,933
I remember we all got to sit
there for about 3 1/2 hours
442
00:21:44,033 --> 00:21:46,573
when he was running his finger
up that thing going...
443
00:21:46,666 --> 00:21:49,026
[ Imitates
distorted instrument playing ]
444
00:21:49,133 --> 00:21:52,233
-♪ I'm picking up
good vibrations ♪
445
00:21:52,333 --> 00:21:55,403
♪ She's giving me excitations
446
00:21:55,500 --> 00:21:57,370
♪ Ooh, bop, bop
447
00:21:57,466 --> 00:22:00,566
♪ Good vibrations, bop, bop
448
00:22:00,666 --> 00:22:02,066
♪ Excitation
449
00:22:02,166 --> 00:22:07,196
♪ Good, good, good,
good vibrations ♪
450
00:22:07,300 --> 00:22:08,370
♪ Excitation
451
00:22:08,466 --> 00:22:11,966
♪ Good, good, good,
good vibrations ♪
452
00:22:12,066 --> 00:22:14,396
♪ She's bop bop,
excitation ♪
453
00:22:14,500 --> 00:22:16,670
♪ Close my eyes
454
00:22:16,766 --> 00:22:19,426
-Just having the time
to experiment in the studio
455
00:22:19,533 --> 00:22:22,033
was a radical change.
456
00:22:22,133 --> 00:22:23,473
When he made "Good Vibrations,"
457
00:22:23,566 --> 00:22:26,726
Brian reportedly spent
90 hours recording it.
458
00:22:26,833 --> 00:22:29,803
Everyone thought that was
insanity, you know, like,
459
00:22:29,900 --> 00:22:34,300
he's gone mad; he spent 90 hours
working on one song.
460
00:22:34,400 --> 00:22:37,470
You know, to me, that's nothing.
461
00:22:37,566 --> 00:22:40,196
-The session that we did on
"Good Vibrations"
462
00:22:40,300 --> 00:22:42,130
is not one session.
463
00:22:42,233 --> 00:22:44,703
It was many, many,
many sessions.
464
00:22:44,800 --> 00:22:46,600
-Take after take after take.
465
00:22:46,700 --> 00:22:48,570
My fingers were almost
bleeding, you know.
466
00:22:48,666 --> 00:22:52,366
It's like "Come on, Brian,
fade us out; fade us out."
467
00:22:52,466 --> 00:22:56,066
-♪ I don't know where,
but she sends me there ♪
468
00:22:56,166 --> 00:22:59,396
♪ Oh, my, my,
what a sensation ♪
469
00:22:59,500 --> 00:23:02,300
♪ Oh, my my, what elation
470
00:23:02,400 --> 00:23:05,270
♪ Oh, my my, what
471
00:23:05,366 --> 00:23:08,696
[ Organ plays ]
472
00:23:13,266 --> 00:23:17,766
♪ Gotta keep those
loving good vibrations ♪
473
00:23:17,866 --> 00:23:20,696
♪ Happening with her
474
00:23:20,800 --> 00:23:25,130
♪ Gotta keep those
loving good vibrations ♪
475
00:23:25,233 --> 00:23:27,003
♪ Happening with her
476
00:23:27,100 --> 00:23:29,100
-Brian's, you know,
a very deep guy.
477
00:23:29,200 --> 00:23:31,400
You know, so he wanted to move
beyond songs
478
00:23:31,500 --> 00:23:34,430
about summer and -- and surfing.
479
00:23:34,533 --> 00:23:36,073
♪
480
00:23:36,166 --> 00:23:39,126
Just saying something like,
"God only knows
481
00:23:39,233 --> 00:23:41,733
what I'd be without you"
in a rock 'n' roll song
482
00:23:41,833 --> 00:23:45,703
and then create this wonderful
music that enables the listener,
483
00:23:45,800 --> 00:23:50,670
50 years later, to put it on and
to feel what they were feeling.
484
00:23:50,766 --> 00:23:51,896
That's great art.
485
00:23:52,000 --> 00:23:54,500
-♪ I may not always love you
486
00:23:54,600 --> 00:23:58,000
-The way he layered
and added different vocal parts
487
00:23:58,100 --> 00:24:01,170
created that wonderful
celestial resonance.
488
00:24:01,266 --> 00:24:04,626
Overdub over overdub
over overdub until
489
00:24:04,733 --> 00:24:09,003
on "God Only Knows," he ended up
with 7 tracks of vocal overdubs.
490
00:24:09,100 --> 00:24:12,970
And that's how come
you hear this heavenly choir.
491
00:24:13,066 --> 00:24:17,096
-♪ God only knows
what I'd be without you ♪
492
00:24:17,200 --> 00:24:20,770
♪ God only knows what I'd be
without you ♪
493
00:24:20,866 --> 00:24:24,766
♪ God only knows
what I'd be without you ♪
494
00:24:24,866 --> 00:24:28,196
♪ God only knows what I'd be
-We loved the Beach Boys.
495
00:24:28,300 --> 00:24:32,670
And it was a bit of
a competition across the pond.
496
00:24:32,766 --> 00:24:34,166
When they did "Pet Sounds,"
497
00:24:34,266 --> 00:24:35,996
I played it to everyone
and said... "[ Gasps ]
498
00:24:36,100 --> 00:24:39,170
Listen -- listen to what
they're doing here," you know.
499
00:24:39,266 --> 00:24:41,096
So we did "Sgt. Pepper."
500
00:24:41,200 --> 00:24:45,270
[ The Beatles's
"Within Without You" playing ]
501
00:24:47,433 --> 00:24:51,703
♪
502
00:24:55,800 --> 00:24:59,100
[ Crowd screaming ]
503
00:25:01,333 --> 00:25:04,503
-What happened to us
was that while we were touring,
504
00:25:04,600 --> 00:25:08,970
we were regressing as musicians
because the noise
505
00:25:09,066 --> 00:25:12,196
of the audience
was louder than the band.
506
00:25:12,300 --> 00:25:14,930
I'm watching the feet,
I'm watching their arses,
507
00:25:15,033 --> 00:25:16,673
I'm watching
the bobbing heads -- Whoo!
508
00:25:16,766 --> 00:25:18,566
Oh, it's that part --
509
00:25:18,666 --> 00:25:21,296
to stay in some sort of time.
510
00:25:21,400 --> 00:25:22,900
-The last gig
was Candlestick Park,
511
00:25:23,000 --> 00:25:25,900
and by then
we were just so fed up.
512
00:25:26,000 --> 00:25:28,670
And we got loaded
into a meat wagon.
513
00:25:28,766 --> 00:25:30,626
♪
514
00:25:30,733 --> 00:25:33,833
It was like a surrealist film.
515
00:25:33,933 --> 00:25:35,473
It's gone downhill, performance.
516
00:25:35,566 --> 00:25:37,596
'Cause we can't develop
when no one can hear us.
517
00:25:37,700 --> 00:25:40,900
You know what I mean? So for us
to perform, it's difficult.
518
00:25:41,000 --> 00:25:42,230
It gets difficult each time.
519
00:25:42,333 --> 00:25:44,873
-We can't do a tour like
we've been doing all these years
520
00:25:44,966 --> 00:25:47,026
because -- because
our music's progressed,
521
00:25:47,133 --> 00:25:48,533
we've used more instruments.
522
00:25:48,633 --> 00:25:51,633
It'd be soft, us going onstage,
the four of us, and trying to do
523
00:25:51,733 --> 00:25:53,803
the records we've made
with orchestras and, you know,
524
00:25:53,900 --> 00:25:55,030
bands and things.
525
00:25:55,133 --> 00:25:56,333
♪
526
00:25:56,433 --> 00:26:01,403
-♪ Try to realize
it's all within yourself ♪
527
00:26:01,500 --> 00:26:05,700
♪ No one else
can make you change ♪
528
00:26:05,800 --> 00:26:10,030
-The Beatles achieved a quantum
leap when they stopped touring.
529
00:26:10,133 --> 00:26:13,573
That gave us an opportunity
which we hadn't had before.
530
00:26:13,666 --> 00:26:16,666
We were no longer were under
pressure to complete a song
531
00:26:16,766 --> 00:26:18,766
within a day or two days.
532
00:26:18,866 --> 00:26:21,566
We could spend as much time
as we liked on it.
533
00:26:21,666 --> 00:26:24,696
-The boundaries were being moved
so far forward
534
00:26:24,800 --> 00:26:27,230
from the early mono days.
535
00:26:27,333 --> 00:26:31,003
Now, we were asking for things
like a symphony orchestra
536
00:26:31,100 --> 00:26:33,500
for "A Day in the Life."
537
00:26:33,600 --> 00:26:37,470
You know, lunatics had taken
over the asylum.
538
00:26:37,566 --> 00:26:40,466
[ The Beatles's
"A Day in the Life" playing ]
539
00:26:43,766 --> 00:26:49,866
-♪ I read the news today,
oh, boy ♪
540
00:26:49,966 --> 00:26:55,896
♪ About a lucky man
who made the grade ♪
541
00:26:56,000 --> 00:27:02,070
♪ And though the news
was rather sad ♪
542
00:27:02,166 --> 00:27:06,066
♪ Well, I just had to laugh
543
00:27:08,433 --> 00:27:12,403
♪ I saw the photograph
544
00:27:14,666 --> 00:27:16,526
-Like many of John's songs,
545
00:27:16,633 --> 00:27:19,473
"A Day In The Life"
began quite simply,
546
00:27:19,566 --> 00:27:23,396
based on the odd
newspaper cutting.
547
00:27:23,500 --> 00:27:26,300
Paul had written a scrap
of a song,
548
00:27:26,400 --> 00:27:29,270
"Woke up, fell out of bed."
You know the one.
549
00:27:29,366 --> 00:27:31,466
-♪ Dragged a comb
across my head ♪
550
00:27:31,566 --> 00:27:33,426
-But when we laid down
the track,
551
00:27:33,533 --> 00:27:37,103
Paul came up with the idea
of giant crescendo,
552
00:27:37,200 --> 00:27:39,900
a kind of immense
musical orgasm.
553
00:27:40,000 --> 00:27:45,030
♪ Ah
554
00:27:45,133 --> 00:27:51,103
♪ Ah
555
00:27:51,200 --> 00:27:53,100
-"Don't listen to the man
next to you,"
556
00:27:53,200 --> 00:27:54,730
I said to the orchestra.
557
00:27:54,833 --> 00:27:57,503
"Make your own way up
the sliding passage.
558
00:27:57,600 --> 00:28:00,330
If you're playing the same note
as your companion,
559
00:28:00,433 --> 00:28:02,673
you're playing the wrong one."
560
00:28:02,766 --> 00:28:05,826
Well, the orchestra
hooted with laughter.
561
00:28:05,933 --> 00:28:08,933
All their lives they'd tried
to play as one man.
562
00:28:09,033 --> 00:28:11,003
And it only took a few minutes
for The Beatles
563
00:28:11,100 --> 00:28:13,200
to change all that.
564
00:28:13,300 --> 00:28:16,070
-We were taking so long
making "Sgt. Pepper."
565
00:28:16,166 --> 00:28:18,496
I remember in one of
the music papers, they said,
566
00:28:18,600 --> 00:28:20,700
"Oh, The Beatles have dried up."
567
00:28:20,800 --> 00:28:23,970
And we were like... "[Snickers]
No, we haven't."
568
00:28:24,066 --> 00:28:25,826
[ Crescendo plays ]
569
00:28:25,933 --> 00:28:31,633
[ Final chord plays ]
570
00:28:31,733 --> 00:28:36,133
-We were on the road driving
to a gig in an old Zephyr 4
571
00:28:36,233 --> 00:28:39,473
when "Sgt. Pepper" was played
for the first time on the radio.
572
00:28:39,566 --> 00:28:42,466
And I remember, we pulled off
into a lay-by and sat there
573
00:28:42,566 --> 00:28:44,926
and listened to the whole thing
from start to finish.
574
00:28:45,033 --> 00:28:48,403
And I remember we just looked at
each other and went, "...me!"
575
00:28:48,500 --> 00:28:51,000
That's just...
576
00:28:51,100 --> 00:28:53,400
You know, I couldn't wait to
hear the songs again.
577
00:28:55,700 --> 00:28:57,530
Suddenly, here was an album
578
00:28:57,633 --> 00:29:00,773
that was like
a theatrical construction,
579
00:29:00,866 --> 00:29:04,166
but it was also rooted in songs
that were about
580
00:29:04,266 --> 00:29:09,126
all our hopes and fears,
and so, in -- in that sense,
581
00:29:09,233 --> 00:29:13,733
that album opened Pandora's box
for everybody.
582
00:29:13,833 --> 00:29:16,933
[ Playing
Pink Floyd's "Breathe" ]
583
00:29:22,066 --> 00:29:24,796
-"Dark Side of the Moon" started
in a rehearsal room
584
00:29:24,900 --> 00:29:25,870
in Bermondsey, I think,
585
00:29:25,966 --> 00:29:27,696
that belonged
to the Rolling Stones,
586
00:29:27,800 --> 00:29:32,630
where we did some, um,
sort of jamming, writing.
587
00:29:32,733 --> 00:29:37,333
♪
588
00:29:37,433 --> 00:29:41,633
-With "Dark Side," I had
a strong and compelling notion
589
00:29:41,733 --> 00:29:44,203
that we could make an album
that was about life
590
00:29:44,300 --> 00:29:45,930
and about feelings
591
00:29:46,033 --> 00:29:49,733
and the human condition
and things that impinge upon us.
592
00:29:49,833 --> 00:29:51,403
Can I put this down?
593
00:29:51,500 --> 00:29:53,000
-Just a second -- we're just...
594
00:29:53,100 --> 00:29:55,330
I still have to find...
-It's on the other track.
595
00:29:55,433 --> 00:29:56,933
-Okay.
596
00:29:57,033 --> 00:30:00,103
-How do we make, you know,
with a recording desk
597
00:30:00,200 --> 00:30:02,600
and a couple of little old
synthesizers and stuff,
598
00:30:02,700 --> 00:30:04,300
how do you make that sound?
599
00:30:04,400 --> 00:30:06,570
And you have to throw yourself
600
00:30:06,666 --> 00:30:09,766
and your imagination
into creating.
601
00:30:09,866 --> 00:30:10,896
I just plugged this up
602
00:30:11,000 --> 00:30:12,870
and started playing
one sequence on it,
603
00:30:12,966 --> 00:30:14,896
and, uh, Roger immediately
pricked up his ears
604
00:30:15,000 --> 00:30:17,200
and thought
that sounded good,
605
00:30:17,300 --> 00:30:21,070
and came out and we started
mucking with it together.
606
00:30:21,166 --> 00:30:24,266
-A series of notes played
in slowly...
607
00:30:24,366 --> 00:30:26,066
[ Playing notes slowly ]
608
00:30:26,166 --> 00:30:29,396
...triggering a noise
generator and oscillators,
609
00:30:29,500 --> 00:30:32,070
and then just speed it up,
you know.
610
00:30:32,166 --> 00:30:38,126
[ Speed of music increases,
playing rapidly ]
611
00:30:38,233 --> 00:30:39,303
-Now you've got it, basically.
612
00:30:39,400 --> 00:30:43,700
♪
613
00:30:43,800 --> 00:30:47,070
[ Frequency rises ]
614
00:30:47,166 --> 00:30:50,526
-Well, recording changed
with the technology.
615
00:30:50,633 --> 00:30:52,473
When 16-track came in,
616
00:30:52,566 --> 00:30:55,896
we could overdub almost
to our heart's content.
617
00:30:56,000 --> 00:31:01,030
♪
618
00:31:01,133 --> 00:31:04,673
-I think the analogy of painting
is very relevant in terms
619
00:31:04,766 --> 00:31:08,696
of making records, because you
can paint over a whole bit,
620
00:31:08,800 --> 00:31:12,500
or erase a whole section,
and say, "Well, I like that bit
621
00:31:12,600 --> 00:31:14,130
of the painting,
but let's start again here."
622
00:31:14,233 --> 00:31:17,633
♪
623
00:31:17,733 --> 00:31:20,833
-I actually like being able to
sit back and listen to it,
624
00:31:20,933 --> 00:31:24,503
and then go and say well maybe
if we just add something here.
625
00:31:24,600 --> 00:31:26,800
-♪ All that you touch
626
00:31:26,900 --> 00:31:29,430
♪ And all that you see
627
00:31:29,533 --> 00:31:32,633
♪ All that you taste
628
00:31:32,733 --> 00:31:35,103
♪ All you feel
629
00:31:35,200 --> 00:31:38,170
-That was very freeing.
630
00:31:38,266 --> 00:31:39,926
But you could say
maybe it was destructive
631
00:31:40,033 --> 00:31:43,903
in some ways as well, 'cause it
meant you didn't have to
632
00:31:44,000 --> 00:31:47,870
make that simple brush stroke
that meant something.
633
00:31:47,966 --> 00:31:49,996
You know, you could go
blah, blah, blah!
634
00:31:50,100 --> 00:31:52,830
We'll sort it out later.
635
00:31:52,933 --> 00:31:55,573
-♪ Beg, borrow, or steal
636
00:31:55,666 --> 00:31:57,896
♪ And all you create
637
00:31:58,000 --> 00:32:00,300
♪ And all you destroy
638
00:32:00,400 --> 00:32:03,970
-That record to me is...
it's mind-blowing.
639
00:32:04,066 --> 00:32:07,666
The way that that still sounds,
like, I mean, the tape loops,
640
00:32:07,766 --> 00:32:10,096
the mixing, the depth --
641
00:32:10,200 --> 00:32:13,870
no one has come close to that,
probably to this day.
642
00:32:13,966 --> 00:32:17,326
I can clearly remember that
moment of sitting and listening
643
00:32:17,433 --> 00:32:19,503
to the whole mix all the way
through. I'm thinking,
644
00:32:19,600 --> 00:32:23,870
"My God, we've really done
something fantastic here."
645
00:32:23,966 --> 00:32:26,996
♪
646
00:32:31,333 --> 00:32:34,373
-There was an explosion of
creativity in the '60s
647
00:32:34,466 --> 00:32:37,066
to the mid '70s of music
that will never, I don't think,
648
00:32:37,166 --> 00:32:38,626
be matched in pop music again.
649
00:32:38,733 --> 00:32:41,773
[ Aerosmith's "Sweet Emotion"
playing ]
650
00:32:45,366 --> 00:32:48,066
-Technology was certainly
enabling people
651
00:32:48,166 --> 00:32:50,596
to experiment more as musicians.
652
00:32:50,700 --> 00:32:53,930
-Multitracking came in and then
we had three tracks.
653
00:32:54,033 --> 00:32:55,973
And then we got four tracks.
654
00:32:56,066 --> 00:32:58,366
And then I remember all
the studios got eight tracks.
655
00:32:58,466 --> 00:33:00,826
And then all of a sudden
we got 16 tracks,
656
00:33:00,933 --> 00:33:02,573
and we were all looking
at one another, saying,
657
00:33:02,666 --> 00:33:05,396
"What the hell are we gonna do
with 16 tracks?"
658
00:33:05,500 --> 00:33:07,370
Before anybody really learned
how to use one of those,
659
00:33:07,466 --> 00:33:09,966
here comes a 24-track.
660
00:33:10,066 --> 00:33:14,496
And the next thing you know,
it's multi-forever. [ Chuckles ]
661
00:33:14,600 --> 00:33:19,500
-♪ Sweet...
662
00:33:19,600 --> 00:33:24,670
♪ Emotion
663
00:33:24,766 --> 00:33:26,666
-In the '70s, people
were spending
664
00:33:26,766 --> 00:33:29,626
more and more and more money
on these gigantic studios.
665
00:33:29,733 --> 00:33:33,003
-Technology has helped us
enormously but it has had also
666
00:33:33,100 --> 00:33:37,270
a damaging effect, because
it's allowed too much freedom.
667
00:33:37,366 --> 00:33:39,866
I've known groups who will
concentrate on
668
00:33:39,966 --> 00:33:43,926
getting a bassline on one song,
and spending five days doing it.
669
00:33:44,033 --> 00:33:46,403
Music suffers from
overproduction.
670
00:33:46,500 --> 00:33:49,030
You don't gain.
You think you're gaining
671
00:33:49,133 --> 00:33:51,373
'cause everybody
wants to play with toys.
672
00:33:51,466 --> 00:33:54,666
And when another 16 tracks
arrive that you can play with,
673
00:33:54,766 --> 00:33:57,096
you have to play with them,
because they're there,
674
00:33:57,200 --> 00:33:59,030
like a kid with a new toybox.
675
00:33:59,133 --> 00:34:03,273
But I thought once you got
past 16, it was a waste of time.
676
00:34:03,366 --> 00:34:04,926
It became a bit self-indulgent.
677
00:34:05,033 --> 00:34:08,133
And it allowed records to go on
forever in the studio.
678
00:34:08,233 --> 00:34:12,803
♪
679
00:34:12,900 --> 00:34:17,830
-And the album of the year is...
Fleetwood Mac!
680
00:34:17,933 --> 00:34:23,033
-The success of "Rumors" was
such a disproportionate thing.
681
00:34:23,133 --> 00:34:26,373
You have so much pressure
from the outside,
682
00:34:26,466 --> 00:34:30,026
wanting you to repeat the
formula that is embodied
683
00:34:30,133 --> 00:34:31,803
in an album like "Rumors."
684
00:34:31,900 --> 00:34:34,300
But there was no formula
to "Rumors."
685
00:34:34,400 --> 00:34:36,900
We were just responding
to what was going on
686
00:34:37,000 --> 00:34:40,170
in our personal lives,
so, no matter what we did,
687
00:34:40,266 --> 00:34:44,096
we couldn't have repeated
the authenticity of that.
688
00:34:44,199 --> 00:34:45,869
♪ Loving you
689
00:34:45,966 --> 00:34:50,266
♪ Isn't the right thing to do
690
00:34:50,366 --> 00:34:52,996
Every song on that album
is a cross-dialogue
691
00:34:53,100 --> 00:34:55,730
between one member and another.
692
00:34:55,833 --> 00:34:58,433
♪
693
00:34:58,533 --> 00:35:02,373
-♪ You can go your own way
694
00:35:02,466 --> 00:35:04,966
-You can't hear
"Go Your Own Way" in any way
695
00:35:05,066 --> 00:35:07,896
other than, you know,
me talking to Stevie.
696
00:35:08,000 --> 00:35:10,070
-♪ Another lonely day
697
00:35:10,166 --> 00:35:13,026
-Making the left turn that
we made on "Tusk,"
698
00:35:13,133 --> 00:35:17,233
it was all about how do we not
paint ourselves into a corner?
699
00:35:17,333 --> 00:35:19,173
And so I said to the band,
700
00:35:19,266 --> 00:35:21,966
"Look, let's try something
a little different."
701
00:35:22,066 --> 00:35:25,196
And they were sort of like,
"Well...okay."
702
00:35:25,300 --> 00:35:30,270
-♪ Why don't you tell me
what's goin' on? ♪
703
00:35:30,366 --> 00:35:33,796
-I had a small studio
in the back of my house,
704
00:35:33,900 --> 00:35:36,600
and I just wheeled
a 24-track in,
705
00:35:36,700 --> 00:35:39,570
and I just started
putting stuff down.
706
00:35:39,666 --> 00:35:43,526
Basically what I'm trying to do
is take a track that we cut
707
00:35:43,633 --> 00:35:46,733
in the studio,
mic the bathroom,
708
00:35:46,833 --> 00:35:50,703
which is right across the hall,
which has an amazing sound.
709
00:35:50,800 --> 00:35:53,570
I mean, 1927 bathrooms are
rock 'n' roll all the way.
710
00:35:53,666 --> 00:35:57,396
And, uh, record it back
onto some empty tracks.
711
00:35:57,500 --> 00:35:59,470
[ Drum beating ]
712
00:35:59,566 --> 00:36:04,596
Working at home alone allows you
to sort of go into the void
713
00:36:04,700 --> 00:36:07,730
and to find all sorts of
mysterious things.
714
00:36:07,833 --> 00:36:09,633
And that was something
I wanted to explore,
715
00:36:09,733 --> 00:36:11,933
and then bring back
and share with the band.
716
00:36:12,033 --> 00:36:14,033
Sing the melody for a second.
717
00:36:14,133 --> 00:36:15,333
-We were recording at
Village Recorders
718
00:36:15,433 --> 00:36:18,273
in Santa Monica,
and we were recording
719
00:36:18,366 --> 00:36:21,096
six days a week,
and it was really horrible.
720
00:36:21,200 --> 00:36:22,700
It's like,
Lindsey with a microphone
721
00:36:22,800 --> 00:36:27,300
on the tile floor, going
ooh, ooh, ooh-ooh-ooh, ooh.
722
00:36:27,400 --> 00:36:28,900
And we're just all like,
723
00:36:29,000 --> 00:36:32,970
"Okay, that was great.
Take two." [ Chuckles ]
724
00:36:33,066 --> 00:36:34,566
And now -- and he's like...
725
00:36:34,666 --> 00:36:36,896
♪ Ooh, ooh-ooh, ooh-ooh
726
00:36:37,000 --> 00:36:38,700
♪ Ooh, ooh-ooh, ooh-ooh
727
00:36:38,800 --> 00:36:40,370
Okay, take three."
728
00:36:40,466 --> 00:36:41,896
And then he's taking
the whole thing
729
00:36:42,000 --> 00:36:44,700
and then he's slowing it down,
and then he's recording that.
730
00:36:44,800 --> 00:36:46,630
And then he's speeding it
back up,
731
00:36:46,733 --> 00:36:48,803
and then he's putting it
through a Leslie,
732
00:36:48,900 --> 00:36:51,130
and it was just hard
for the rest of us,
733
00:36:51,233 --> 00:36:54,673
because we kind of...
we weren't always involved.
734
00:36:54,766 --> 00:36:56,696
♪
735
00:36:56,800 --> 00:36:58,730
-The title track, "Tusk,"
736
00:36:58,833 --> 00:37:01,833
typifies the spirit
of the album.
737
00:37:01,933 --> 00:37:03,873
I wanted Mick to play,
like, jungle drums,
738
00:37:03,966 --> 00:37:07,296
so we got him going,
and then we made a loop of it,
739
00:37:07,400 --> 00:37:10,700
and everything else
got added in after that.
740
00:37:10,800 --> 00:37:15,600
♪ Why don't you tell me
who's on the phone? ♪
741
00:37:15,700 --> 00:37:18,530
Mick had the idea
to put the marching band on
742
00:37:18,633 --> 00:37:22,273
and that was sort of the
coup de grace on that song
743
00:37:22,366 --> 00:37:23,866
and it really pushed it
over the top.
744
00:37:23,966 --> 00:37:29,026
-♪ Why don't you ask him
the list on this rove? ♪
745
00:37:29,133 --> 00:37:33,173
♪ Oh oh-oh, oh oh-oh, oh
746
00:37:33,266 --> 00:37:34,896
♪ Don't say that you love me
747
00:37:35,000 --> 00:37:37,800
-Obviously, it reached the point
where the ability to stay
748
00:37:37,900 --> 00:37:38,870
in the studio
as long as you want
749
00:37:38,966 --> 00:37:40,926
and spend as much money
as you want
750
00:37:41,033 --> 00:37:43,903
may not necessarily have been
an entirely good thing.
751
00:37:44,000 --> 00:37:46,800
They were actually
in the studio 24 hours.
752
00:37:46,900 --> 00:37:49,330
Lindsey and whoever would
come in in the daytime,
753
00:37:49,433 --> 00:37:51,273
record stuff with one engineer,
which Mick would come in
754
00:37:51,366 --> 00:37:54,126
at night, dislike,
erase, and replace.
755
00:37:54,233 --> 00:37:56,573
So, in theory, they could have
actually gone on forever
756
00:37:56,666 --> 00:37:58,326
and ever and ever.
757
00:37:58,433 --> 00:38:00,273
And of course, you know,
prodigious amounts of cocaine
758
00:38:00,366 --> 00:38:01,696
were involved in the process,
759
00:38:01,800 --> 00:38:05,970
which added a certain piquancy
to the whole thing.
760
00:38:06,066 --> 00:38:07,296
♪
761
00:38:07,400 --> 00:38:10,030
The Warner Bros. people never
really took much stock
762
00:38:10,133 --> 00:38:14,403
of what we were doing, but, when
we delivered that album to them,
763
00:38:14,500 --> 00:38:17,000
that would've been a funny
moment to be a fly on the wall
764
00:38:17,100 --> 00:38:22,030
because I know they were
probably looking at each other
765
00:38:22,133 --> 00:38:23,503
and going "What is this?"
766
00:38:23,600 --> 00:38:25,500
-♪ Tusk!
767
00:38:25,600 --> 00:38:27,230
-There was a kind of a backlash,
768
00:38:27,333 --> 00:38:30,933
there was a kind of
a negativity to it.
769
00:38:31,033 --> 00:38:34,373
I remember Mick coming to me
and saying, "You know, Lindsey,
770
00:38:34,466 --> 00:38:37,566
we're -- we're not gonna
do that again."
771
00:38:37,666 --> 00:38:39,926
And I was like, "Okay."
772
00:38:40,033 --> 00:38:42,203
♪
773
00:38:42,300 --> 00:38:46,770
It did take many years for that
album to rise to the surface,
774
00:38:46,866 --> 00:38:49,426
to where now
everyone else loves it
775
00:38:49,533 --> 00:38:53,933
and I think a whole generation,
especially indie band types,
776
00:38:54,033 --> 00:38:57,073
seem to really get it.
777
00:38:57,166 --> 00:39:00,396
It was, uh, a ballsy thing
to do,
778
00:39:00,500 --> 00:39:04,570
but it was just the need
to experiment
779
00:39:04,666 --> 00:39:07,226
and the need to be an artist.
780
00:39:07,333 --> 00:39:10,773
[ Eurythmics's "Who's That Girl"
playing ]
781
00:39:10,866 --> 00:39:13,596
-Annie and I saw ourselves
more like performance artists.
782
00:39:13,700 --> 00:39:16,830
I would sit on a chair,
and Annie would have a suit
783
00:39:16,933 --> 00:39:18,773
and sing,
and I wouldn't do anything.
784
00:39:18,866 --> 00:39:22,796
-♪ The language of love
785
00:39:22,900 --> 00:39:26,100
♪ Slips from
my lover's tongue ♪
786
00:39:26,200 --> 00:39:29,100
We always liked everything
to be quite reduced.
787
00:39:29,200 --> 00:39:33,430
And at the time that we were
forming Eurythmics,
788
00:39:33,533 --> 00:39:37,103
there was a fantastic evolution
in the kind of equipment
789
00:39:37,200 --> 00:39:40,170
that you could get access to
in terms of recording.
790
00:39:40,266 --> 00:39:44,226
♪ Who's that girl
791
00:39:44,333 --> 00:39:47,333
♪ Running around with you?
792
00:39:47,433 --> 00:39:52,403
♪ Tell me, who's that girl
793
00:39:52,500 --> 00:39:55,470
♪ Running around with you?
794
00:39:55,566 --> 00:39:57,326
It was the beginning
of that kind of
795
00:39:57,433 --> 00:40:00,403
bedroom recording studio.
796
00:40:00,500 --> 00:40:01,570
You know,
being the technological person
797
00:40:01,666 --> 00:40:05,396
that he was, Dave was
very clued in with this.
798
00:40:05,500 --> 00:40:08,070
-I'd went out and bought a thing
called a Caterpillar
799
00:40:08,166 --> 00:40:09,526
which went with the Wasp.
800
00:40:09,633 --> 00:40:11,303
[ Playing notes ]
801
00:40:11,400 --> 00:40:14,800
-And I had this new drum machine
that was a prototype.
802
00:40:14,900 --> 00:40:17,300
In fact the outside
of the computer was wood.
803
00:40:17,400 --> 00:40:19,570
And it had a tiny little screen
that was black and white
804
00:40:19,666 --> 00:40:20,996
almost like early
"Space Invaders"
805
00:40:21,100 --> 00:40:22,770
or ping-pong, you know?
806
00:40:22,866 --> 00:40:25,866
And I had a TEAC Portastudio.
807
00:40:25,966 --> 00:40:28,696
So with these things,
I'd worked out how to sort of
808
00:40:28,800 --> 00:40:32,930
make a little sequence like...
[ imitating notes playing ]
809
00:40:33,033 --> 00:40:35,133
And that was the beginning
of Eurythmics.
810
00:40:35,233 --> 00:40:39,733
[ "Love Is a Stranger" playing ]
811
00:40:39,833 --> 00:40:42,673
-We didn't like
big, intimidating studios.
812
00:40:42,766 --> 00:40:46,366
You go in there, and it's all,
you know, big desks,
813
00:40:46,466 --> 00:40:47,696
and it's very glossy
814
00:40:47,800 --> 00:40:50,430
and it's like -- it's like
a big Rolls-Royce
815
00:40:50,533 --> 00:40:52,833
as opposed to like
a little Volkswagen.
816
00:40:52,933 --> 00:40:54,233
We liked the Volkswagen.
817
00:40:54,333 --> 00:40:55,533
We didn't go
for the Rolls-Royce.
818
00:40:55,633 --> 00:40:59,203
♪ Love is a stranger
in an open car ♪
819
00:40:59,300 --> 00:41:04,030
♪ Tempt you in
and drive you far away ♪
820
00:41:04,133 --> 00:41:07,233
We didn't care for
the status quo.
821
00:41:07,333 --> 00:41:11,233
What we referred to at the time
as like prehistoric dinosaur
822
00:41:11,333 --> 00:41:12,733
big rock bands, you know.
823
00:41:12,833 --> 00:41:16,873
So we wanted to do it in a very
different way -- our own way.
824
00:41:16,966 --> 00:41:20,066
♪ And drive you far away
825
00:41:20,166 --> 00:41:23,726
So we knew someone who had this
massive picture framing factory,
826
00:41:23,833 --> 00:41:26,903
and at the very, very top,
there was a kind of attic room,
827
00:41:27,000 --> 00:41:28,400
so the roof was like that.
828
00:41:28,500 --> 00:41:31,000
And there was lots of little
cables, and we'd sit for hours,
829
00:41:31,100 --> 00:41:34,200
and he would be noodling,
and I would be like this.
830
00:41:34,300 --> 00:41:37,300
-I was programming it, and Annie
kind of woke up and went,
831
00:41:37,400 --> 00:41:39,330
"Whoa, what the hell is that?"
832
00:41:39,433 --> 00:41:40,773
And she got sort of really
excited about it,
833
00:41:40,866 --> 00:41:42,996
put some weird
harmonies on it.
834
00:41:43,100 --> 00:41:46,500
We really went all the way out
in experimenting,
835
00:41:46,600 --> 00:41:48,870
nothing to do with pop music.
836
00:41:48,966 --> 00:41:50,326
-♪ And I want you
837
00:41:50,433 --> 00:41:52,933
♪ And I want you
838
00:41:53,033 --> 00:41:57,903
♪ And I want you so
it's an obsession ♪
839
00:41:58,000 --> 00:42:00,700
And that was where
we first started
840
00:42:00,800 --> 00:42:02,970
with Eurythmics songs,
Eurythmics recordings:
841
00:42:03,066 --> 00:42:04,666
"Sweet Dreams,"
"Love Is a Stranger,"
842
00:42:04,766 --> 00:42:07,966
all the early stuff;
that's where we recorded.
843
00:42:08,066 --> 00:42:10,696
♪ An obsessio...n
844
00:42:10,800 --> 00:42:15,670
-This is like 1982, and it was
kind of the beginning of loads
845
00:42:15,766 --> 00:42:19,396
of artists going, "Whoa, hang on
a second. I can do that."
846
00:42:19,500 --> 00:42:22,300
And all of this music started
to come out
847
00:42:22,400 --> 00:42:25,300
that wasn't made
in big commercial studios,
848
00:42:25,400 --> 00:42:27,800
and it was kinda made
in people's bedrooms,
849
00:42:27,900 --> 00:42:30,470
and...and it was cool.
850
00:42:30,566 --> 00:42:33,596
[ Beck's "Loser" playing ]
851
00:42:38,600 --> 00:42:41,630
♪ In the time of chimpanzees,
I was a monkey ♪
852
00:42:41,733 --> 00:42:44,333
♪ Butane in my veins
so I'm out to cut the junkie ♪
853
00:42:44,433 --> 00:42:47,173
The first few albums I did were
all done at someone's house
854
00:42:47,266 --> 00:42:48,766
who just had a little setup.
855
00:42:48,866 --> 00:42:50,426
They weren't in real studios.
856
00:42:50,533 --> 00:42:53,433
There was maybe
a 3- or 4-hour window.
857
00:42:53,533 --> 00:42:54,903
He's like,
"Yeah, you can come by
858
00:42:55,000 --> 00:42:56,330
and then my girlfriend's
coming home,
859
00:42:56,433 --> 00:42:59,633
and then we can't
record after that because, uh,
860
00:42:59,733 --> 00:43:02,273
the microphone's set up
in the kitchen."
861
00:43:02,366 --> 00:43:03,996
And then halfway through
singing it,
862
00:43:04,100 --> 00:43:07,570
shoes are flying
at the engineer.
863
00:43:07,666 --> 00:43:10,866
His girlfriend has had it,
you know,
864
00:43:10,966 --> 00:43:13,466
of living in a recording studio.
865
00:43:13,566 --> 00:43:18,566
♪Soy un perdedor ♪
866
00:43:18,666 --> 00:43:21,326
♪ I'm a loser, baby
867
00:43:21,433 --> 00:43:23,903
♪ So why don't you kill me?
868
00:43:24,000 --> 00:43:27,200
-Home studios of the analog era,
they were basically
869
00:43:27,300 --> 00:43:30,700
miniature versions of the
existing recording studio
870
00:43:30,800 --> 00:43:35,030
in your home and you had four
tracks, and you made records.
871
00:43:35,133 --> 00:43:37,533
What digital technology did
in a way
872
00:43:37,633 --> 00:43:39,473
is get rid of the studio
entirely,
873
00:43:39,566 --> 00:43:41,896
and now the recording studio was
your computer,
874
00:43:42,000 --> 00:43:43,870
and you could make music
anywhere.
875
00:43:43,966 --> 00:43:47,696
[ Bon Iver's "Flume" plays ]
876
00:43:59,133 --> 00:44:03,233
-♪ I am my mother's only one
877
00:44:03,333 --> 00:44:05,173
When I made "For Emma,"
878
00:44:05,266 --> 00:44:09,326
this was up
at my dad's hunting lodge.
879
00:44:09,433 --> 00:44:12,733
All I had was my old
big block G4 computer
880
00:44:12,833 --> 00:44:15,003
and a Pro Tools interface.
881
00:44:15,100 --> 00:44:17,470
It's funny to think it
was Mac OS 9,
882
00:44:17,566 --> 00:44:21,296
which seems so bizarre
to some people now. Me, too.
883
00:44:21,400 --> 00:44:24,530
Um, but that's all I had.
884
00:44:24,633 --> 00:44:30,573
♪ Only love is all maroon
885
00:44:30,666 --> 00:44:33,866
Pro Tools has been
my musical voice.
886
00:44:33,966 --> 00:44:36,096
I mean, it's my way of
understanding songs.
887
00:44:36,200 --> 00:44:39,200
It's my tool of songwriting now,
where it's like,
888
00:44:39,300 --> 00:44:42,830
I enjoy so much being able to
open up a session, blank tape,
889
00:44:42,933 --> 00:44:46,703
so to speak, and just create
an environment.
890
00:44:46,800 --> 00:44:48,770
With a guitar, it used to be
really exciting to me
891
00:44:48,866 --> 00:44:50,166
to sit down at a desk
892
00:44:50,266 --> 00:44:53,496
and use the room that I was in
and sing and play, and...
893
00:44:53,600 --> 00:44:56,000
But when I'm looking to write
a new song now,
894
00:44:56,100 --> 00:44:58,730
I'm waiting for
an environment to sort of be
895
00:44:58,833 --> 00:45:02,303
created accidentally, so then
I can kind of step into it,
896
00:45:02,400 --> 00:45:04,970
just like when somebody
picks up a guitar,
897
00:45:05,066 --> 00:45:06,466
and there's a chord they play,
898
00:45:06,566 --> 00:45:08,826
they're instantly writing
a song.
899
00:45:08,933 --> 00:45:11,933
-I was right around
the first generation of kids
900
00:45:12,033 --> 00:45:18,973
who were making music alone
in their bedrooms on a computer.
901
00:45:19,066 --> 00:45:20,866
That's really how I started
to make music.
902
00:45:20,966 --> 00:45:24,526
It wasn't really in bands
or in relation to other people.
903
00:45:24,633 --> 00:45:30,903
It was very much this insular,
layering method of making music.
904
00:45:31,000 --> 00:45:32,000
[ Clicking ]
905
00:45:32,100 --> 00:45:35,970
♪
906
00:45:36,066 --> 00:45:37,926
-It takes me a while to find
even where I am sometimes,
907
00:45:38,033 --> 00:45:39,373
'cause there are so many tracks.
908
00:45:39,466 --> 00:45:40,726
♪
909
00:45:40,833 --> 00:45:43,233
♪
910
00:45:47,666 --> 00:45:50,896
♪
911
00:45:51,000 --> 00:45:52,600
-♪ For the lover
912
00:45:52,700 --> 00:45:55,570
♪ For the love
913
00:45:55,666 --> 00:45:58,066
-These are all the tracks
down here.
914
00:45:58,166 --> 00:46:01,466
They are all the violin
and French-horn tracks
915
00:46:01,566 --> 00:46:06,696
that we had to mix down to
a smaller amount of tracks.
916
00:46:06,800 --> 00:46:09,630
You have an infinite amount of
layers that you can add.
917
00:46:09,733 --> 00:46:11,833
So you have
a billion more variables
918
00:46:11,933 --> 00:46:15,103
on where a song could go.
919
00:46:15,200 --> 00:46:18,000
-Being a recording artist means,
you know, push --
920
00:46:18,100 --> 00:46:20,670
pushing and stretching all these
limits and boundaries
921
00:46:20,766 --> 00:46:23,026
of what music can sound like.
922
00:46:23,133 --> 00:46:31,733
[ Singing various notes ]
923
00:46:31,833 --> 00:46:34,933
When I discovered that I could
use a looping pedal to
924
00:46:35,033 --> 00:46:39,803
create this multitrack sound
live in front of people,
925
00:46:39,900 --> 00:46:41,170
that was awesome.
926
00:46:41,266 --> 00:46:43,466
Let's do this thing. All right?
927
00:46:43,566 --> 00:46:46,526
What I do onstage is
that I stamp with my foot
928
00:46:46,633 --> 00:46:50,473
on the looping pedal
and that starts the recording
929
00:46:50,566 --> 00:46:52,166
-Whoo!
[Cheering]
930
00:46:53,766 --> 00:46:55,396
If I press the pedal again,
931
00:46:55,500 --> 00:46:57,500
it will give me another layer
on top of that.
932
00:46:59,666 --> 00:47:02,566
It's looping and looping
and looping and I can stack
933
00:47:02,666 --> 00:47:05,866
layers and layers
upon each other, of sound.
934
00:47:05,966 --> 00:47:08,696
[ Previous drumbeat plays ]
935
00:47:14,700 --> 00:47:15,970
-You know the worlds of sound
936
00:47:16,066 --> 00:47:18,896
that I had been hearing
my whole life and what drew me
937
00:47:19,000 --> 00:47:22,270
to recorded music suddenly were
at my -- not my fingertips --
938
00:47:22,366 --> 00:47:23,696
my toe tips.
939
00:47:23,800 --> 00:47:26,100
♪ Ah
940
00:47:26,200 --> 00:47:30,600
[ Singing various notes ]
941
00:47:30,700 --> 00:47:33,900
It's an organic sound being put
into a digital device
942
00:47:34,000 --> 00:47:35,400
played by a human.
943
00:47:35,500 --> 00:47:38,630
And so there's all these weird,
like, ew, what -- you know,
944
00:47:38,733 --> 00:47:40,873
what is that?
What's happening here?
945
00:47:40,966 --> 00:47:42,996
But that to me is really --
that's where we're living now
946
00:47:43,100 --> 00:47:45,530
is that, you know, in that
"in between" space.
947
00:47:45,633 --> 00:47:47,603
♪ What's the bizness, yeah?
948
00:47:47,700 --> 00:47:49,970
♪ Don't take my life away,
don't take my life away ♪
949
00:47:50,066 --> 00:47:52,366
♪ From a distance, yeah
950
00:47:52,466 --> 00:47:54,666
♪ Don't take my life away,
don't take my life away ♪
951
00:47:54,766 --> 00:47:56,796
♪ Ah, oh
952
00:47:56,900 --> 00:47:59,770
There are no limitations
these days.
953
00:47:59,866 --> 00:48:03,396
Because we are multitracking,
because we're overdubbing,
954
00:48:03,500 --> 00:48:07,570
you know, it's --
it's completely limitless.
955
00:48:07,666 --> 00:48:09,896
-That's where you going, yeah.
956
00:48:10,000 --> 00:48:11,800
♪
957
00:48:11,900 --> 00:48:13,930
-There's so much more technology
around nowadays that,
958
00:48:14,033 --> 00:48:16,903
as a producer, you have to
manage all of that technology
959
00:48:17,000 --> 00:48:18,130
that's available to you.
960
00:48:18,233 --> 00:48:21,503
[ Radiohead's "Lotus Flower"
playing ]
961
00:48:27,500 --> 00:48:30,230
And if you have the discipline
to sort of compartmentalize
962
00:48:30,333 --> 00:48:34,403
what you're doing,
then you benefit.
963
00:48:34,500 --> 00:48:37,800
♪ I will shape myself
into your pocket ♪
964
00:48:37,900 --> 00:48:39,570
♪ Invisible
965
00:48:39,666 --> 00:48:43,496
♪ Do what you want
966
00:48:43,600 --> 00:48:46,270
But the way that I personally
deal with that is by just
967
00:48:46,366 --> 00:48:48,196
ignoring a lot of it.
968
00:48:48,300 --> 00:48:50,300
Because I know that
it's of no value to me.
969
00:48:50,400 --> 00:48:53,370
It's like, "No, I'm not going to
use Pro Tools to record."
970
00:48:53,466 --> 00:48:54,926
You know, use a tape machine
where it will be easier
971
00:48:55,033 --> 00:48:56,303
to just like,
put it in the computer
972
00:48:56,400 --> 00:48:58,030
and take the good bits.
973
00:48:58,133 --> 00:48:59,933
Use a razor blade.
974
00:49:00,033 --> 00:49:04,133
Select things with a pencil,
and cut them with a razor blade
975
00:49:04,233 --> 00:49:06,933
and stick them back together
with tape.
976
00:49:07,033 --> 00:49:13,303
I still do it, because it's sort
of a meditation of some sort.
977
00:49:13,400 --> 00:49:15,830
In the process, you have time to
think about what you're doing,
978
00:49:15,933 --> 00:49:19,703
and that works better
a lot of times.
979
00:49:19,800 --> 00:49:21,230
Things sound better
for some reason.
980
00:49:21,333 --> 00:49:22,703
An edit done on tape
sounds better
981
00:49:22,800 --> 00:49:24,530
than an edit done
in the computer.
982
00:49:24,633 --> 00:49:26,773
It just does.
983
00:49:26,866 --> 00:49:29,166
-I love the idea that we're in
the position now to be able to
984
00:49:29,266 --> 00:49:32,696
pick and choose the different
recording practices
985
00:49:32,800 --> 00:49:34,200
from the different eras.
986
00:49:34,300 --> 00:49:36,570
And sometimes you put one
something, you know,
987
00:49:36,666 --> 00:49:39,466
you put something
that's quite retro
988
00:49:39,566 --> 00:49:41,366
on top of something very modern,
989
00:49:41,466 --> 00:49:43,096
and you create
something very new.
990
00:49:43,200 --> 00:49:44,530
[ Laughter,
indistinct conversation ]
991
00:49:44,633 --> 00:49:47,003
-When the drums come in,
just the drums.
992
00:49:47,100 --> 00:49:50,070
[ Indistinct conversations ]
993
00:49:50,166 --> 00:49:52,266
♪
994
00:49:52,366 --> 00:49:55,166
[ Drum beating, birds calling ]
995
00:49:55,266 --> 00:49:56,696
[ Button clicks ]
996
00:49:56,800 --> 00:49:59,970
[ Birds continue calling,
drum continues beating ]
997
00:50:00,066 --> 00:50:03,096
[ Playing "Give Up the Ghost" ]
998
00:50:07,533 --> 00:50:11,203
-One of the underlying stories
of rock music is this constant
999
00:50:11,300 --> 00:50:14,370
experimentation with sound.
1000
00:50:14,466 --> 00:50:15,896
Because of multitracking,
1001
00:50:16,000 --> 00:50:18,300
you really make the music
during the mixing.
1002
00:50:18,400 --> 00:50:20,870
And you can create drama
in the music.
1003
00:50:20,966 --> 00:50:24,766
You could make things that were
not musically feasible before.
1004
00:50:24,866 --> 00:50:25,826
You could make things that
1005
00:50:25,933 --> 00:50:27,833
didn't really belong
to performances.
1006
00:50:27,933 --> 00:50:34,103
-♪ Don't haunt me
1007
00:50:34,200 --> 00:50:40,300
♪ Don't haunt me
1008
00:50:40,400 --> 00:50:46,770
♪ Don't haunt me
1009
00:50:46,866 --> 00:50:51,866
♪ Don't haunt me
1010
00:50:51,966 --> 00:50:54,226
♪ Gather up
1011
00:50:54,333 --> 00:51:00,273
♪ The lost and sold
1012
00:51:00,366 --> 00:51:03,926
-All eras of recording are
happening simultaneously.
1013
00:51:04,033 --> 00:51:07,703
I have a lot of musician friends
who only record on tape,
1014
00:51:07,800 --> 00:51:10,700
some who only record
on their laptop,
1015
00:51:10,800 --> 00:51:13,730
on a program that comes free
with your computer.
1016
00:51:13,833 --> 00:51:18,703
And, uh, they all have big
records that people listen to.
1017
00:51:18,800 --> 00:51:20,900
-♪ Don't haunt me
1018
00:51:21,000 --> 00:51:23,700
♪ I think I should
1019
00:51:23,800 --> 00:51:31,970
♪ give up the ghost
1020
00:51:32,066 --> 00:51:38,726
♪ Into your arms
1021
00:51:38,833 --> 00:51:42,533
-You know, when I first came
into the record business,
1022
00:51:42,633 --> 00:51:46,633
the ideal for any
recording engineer in a studio
1023
00:51:46,733 --> 00:51:51,733
was to make the most lifelike
sound you could possibly do,
1024
00:51:51,833 --> 00:51:55,773
to make a photograph that was
absolutely accurate.
1025
00:51:55,866 --> 00:51:57,566
Well, the studio
changed all that
1026
00:51:57,666 --> 00:51:59,666
and certainly
what we were doing,
1027
00:51:59,766 --> 00:52:03,826
because instead of taking
a great photograph,
1028
00:52:03,933 --> 00:52:05,973
we could start
painting a picture.
1029
00:52:06,066 --> 00:52:09,226
By overdubbing,
by different kind of speeds,
1030
00:52:09,333 --> 00:52:11,003
you are painting
with sound.
1031
00:52:11,100 --> 00:52:23,200
-♪ Into your arms
1032
00:52:23,300 --> 00:52:36,200
♪ Into your arms
1033
00:52:36,300 --> 00:52:48,500
♪ Into your arms
1034
00:52:48,600 --> 00:52:56,630
♪ Into your arms
1035
00:52:56,733 --> 00:53:01,573
Please tell me
that sounded all right.
1036
00:53:01,666 --> 00:53:05,396
♪
1037
00:53:12,000 --> 00:53:14,570
-"Soundbreaking"
is available on DVD.
1038
00:53:14,666 --> 00:53:17,266
The companion book is also
available.
1039
00:53:17,366 --> 00:53:17,426
To order, visit shopPBS.org
or call 1-800-PLAY-PBS.
76204
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