1 00:00:03,040 --> 00:00:04,360 [George Martin] Okay? 2 00:00:04,480 --> 00:00:06,800 Can the other boys put their headphones on too, Paul? 3 00:00:06,960 --> 00:00:08,320 John, can you put your cans on? 4 00:00:09,160 --> 00:00:12,600 -[♪ guitar strumming] -[George] Hello? Is this mic on? 5 00:00:12,720 --> 00:00:13,800 [Paul] George? 6 00:00:13,880 --> 00:00:15,160 [John] Just throw 'em in somewhere, you know. 7 00:00:15,280 --> 00:00:16,480 [George] No, I think it should start... 8 00:00:16,560 --> 00:00:18,560 -[John] Okay, shall we go? -[Paul] Will you just shout in, you know. 9 00:00:18,640 --> 00:00:20,280 -[engineer] Rolling. -[George Martin] Right. Here we go. 10 00:00:20,360 --> 00:00:21,360 [Paul] And build up the beginning. 11 00:00:21,440 --> 00:00:22,800 [George Martin] Well, you do the count-in then. 12 00:00:22,880 --> 00:00:24,600 [George] The beginning's different now. Okay? 13 00:00:24,680 --> 00:00:25,680 -[Ringo] Yeah. -[George] Ready? 14 00:00:25,760 --> 00:00:27,240 [Ringo] I'll lower the mic accordingly. 15 00:00:27,440 --> 00:00:30,360 -[♪ guitar strumming] -[Paul] Shh. Shh. Right? Clean beginning. 16 00:00:31,080 --> 00:00:32,960 [George] One, two, three, four. 17 00:00:33,040 --> 00:00:34,400 [♪ "A Hard Day's Night" opening chord] 18 00:00:35,800 --> 00:00:39,080 -[clapper] -[♪ Paul plays beat on drums] 19 00:00:40,800 --> 00:00:41,800 Are you rolling? 20 00:00:44,560 --> 00:00:45,760 What have I told you? 21 00:00:46,960 --> 00:00:49,240 -Thank you. -[pretends to cry] 22 00:00:49,480 --> 00:00:51,120 Buggers, you can't keep 'em off. 23 00:00:51,320 --> 00:00:53,840 -[continues crying] -Hi. 24 00:00:55,080 --> 00:00:57,160 [♪ "Free As A Bird" playing] 25 00:01:22,200 --> 00:01:25,440 ♪ Free ♪ 26 00:01:27,280 --> 00:01:31,720 ♪ As a bird ♪ 27 00:01:33,000 --> 00:01:38,160 ♪ It's the next best thing to be ♪ 28 00:01:39,680 --> 00:01:43,720 ♪ Free as a bird ♪ 29 00:01:45,800 --> 00:01:48,360 -[♪ music concludes] -[audience cheers, applauds] 30 00:01:51,000 --> 00:01:52,680 [Mal Evans whistles] 31 00:01:53,280 --> 00:01:54,800 [Bob Smeaton] So do you think that the Anthology... 32 00:01:54,960 --> 00:01:57,800 -[♪ "Original Score" playing] -...could've been made in, say, 1975? 33 00:01:57,960 --> 00:01:59,760 Oh no. It couldn't have been done then. 34 00:01:59,840 --> 00:02:02,160 -No. It could only have been done now. -We were... 35 00:02:02,240 --> 00:02:04,400 -We were at war then. -We weren't talking much. 36 00:02:04,520 --> 00:02:06,760 And also, even if we had have done it then, 37 00:02:06,960 --> 00:02:08,560 it wouldn't have been as interesting 38 00:02:08,640 --> 00:02:10,680 as leaving it for twenty years. 39 00:02:12,640 --> 00:02:14,880 -Twenty-five. -Oh, yeah. 40 00:02:36,040 --> 00:02:39,520 A while ago, when we got over our business troubles, 41 00:02:39,640 --> 00:02:41,760 we sort of decided that we might try and do, 42 00:02:41,840 --> 00:02:43,960 like, the definitive story of the Beatles, 43 00:02:44,080 --> 00:02:46,000 seeing as other people had had a go at it. 44 00:02:46,120 --> 00:02:48,040 We thought it might be good from the inside out 45 00:02:48,120 --> 00:02:49,520 rather than from the outside in. 46 00:02:50,080 --> 00:02:51,280 [Ringo] We've heard it from everybody else, 47 00:02:51,360 --> 00:02:52,760 now you can hear it from us. 48 00:02:53,440 --> 00:02:57,400 Paul, George and myself, old footage of John, of course, 49 00:02:57,480 --> 00:03:00,960 telling how we felt it was like to be a Beatle. 50 00:03:01,080 --> 00:03:02,920 [Geoff Wonfor] Okay? 51 00:03:03,560 --> 00:03:07,160 It became a project that, uh, we did bits of work on 52 00:03:07,240 --> 00:03:10,200 over the years, and then the last few years now, 53 00:03:10,280 --> 00:03:11,720 we started doing interviews. 54 00:03:12,520 --> 00:03:14,800 -[Geoff Wonfor] Okay? Turn over. -[Eugene O'Connor] Yeah, I'm running. 55 00:03:14,880 --> 00:03:18,360 And then building the story around our recollections. 56 00:03:19,040 --> 00:03:22,320 So where were we? Ask me the question again. 57 00:03:22,960 --> 00:03:26,040 The original cut of this was 1970. 58 00:03:27,000 --> 00:03:29,240 [chuckles] That's how long it's been around. 59 00:03:29,360 --> 00:03:32,000 And then it got broke down. And Neil was involved. 60 00:03:32,160 --> 00:03:33,520 Neil Aspinall was involved from the start. 61 00:03:33,640 --> 00:03:34,800 He put it together. 62 00:03:34,880 --> 00:03:36,680 Then we couldn't deal with it, you know? 63 00:03:36,800 --> 00:03:38,920 It's like everything comes round when it should. 64 00:03:39,960 --> 00:03:41,440 I just called them all, you know, 65 00:03:41,560 --> 00:03:45,120 and said that, uh, you know, everybody else and his uncle 66 00:03:45,240 --> 00:03:48,520 seems to have written or talked about the Beatles. 67 00:03:48,600 --> 00:03:51,000 And that maybe, you know, just for ourselves, 68 00:03:51,080 --> 00:03:53,080 they should tell their own story, right? 69 00:03:53,160 --> 00:03:54,520 We'd put some film around it, 70 00:03:54,600 --> 00:03:56,000 and we'd all have a whole movie. 71 00:03:56,200 --> 00:03:59,040 I think it was the early '70s, '70, '71. 72 00:03:59,320 --> 00:04:02,560 I collected, uh, all the footage 73 00:04:02,640 --> 00:04:04,400 that I could find from around the world, 74 00:04:04,480 --> 00:04:08,120 and we put a documentary together, or a film together, 75 00:04:08,200 --> 00:04:09,680 without the Beatles being interviewed 76 00:04:09,760 --> 00:04:12,400 or anything like that. Then I put it on the shelf. 77 00:04:12,880 --> 00:04:15,880 Neil had strung together basically all the footage 78 00:04:15,960 --> 00:04:19,200 we'd, um, filmed of ourselves, or we owned of ourselves, 79 00:04:19,280 --> 00:04:21,520 and whatever footage he could get hold of, 80 00:04:22,080 --> 00:04:23,920 and he put it in a chronological order, 81 00:04:24,000 --> 00:04:26,640 and that was tentatively titled The Long And Winding Road, 82 00:04:26,920 --> 00:04:29,160 but that was back in '71 83 00:04:29,240 --> 00:04:31,560 when we'd had enough of all that. 84 00:04:31,640 --> 00:04:33,480 -[laughs, speaks indistinctly] -[George] And I'm glad it didn't 85 00:04:33,560 --> 00:04:36,520 get made until now. I think it's been nice for us 86 00:04:36,600 --> 00:04:39,640 and the public just to forget about the Beatles for a while, 87 00:04:40,160 --> 00:04:42,600 -let the dust settle... -[indistinct chatter] 88 00:04:42,680 --> 00:04:44,000 [George] ...and now come back to it 89 00:04:44,080 --> 00:04:45,720 -with a fresh point of view. -[♪ music concludes] 90 00:04:45,880 --> 00:04:47,120 [George] There was this one that went... 91 00:04:47,200 --> 00:04:48,240 [♪ "Thinking Of Linking" playing] 92 00:04:48,320 --> 00:04:49,400 [laughs] Oh no. 93 00:04:54,920 --> 00:04:57,080 ♪ I've been thinking of linking ♪ 94 00:04:57,160 --> 00:04:59,080 -♪ My love with you ♪ -♪ My life with you ♪ 95 00:04:59,880 --> 00:05:03,320 ♪ Thinking of linking our love so true ♪ 96 00:05:04,040 --> 00:05:08,920 ♪ Thinking of linking can only be done by two ♪ 97 00:05:11,400 --> 00:05:12,520 [♪ music concludes] 98 00:05:12,760 --> 00:05:14,360 [laughs] Yeah. 99 00:05:14,480 --> 00:05:15,960 [Ringo] Over the last four years, 100 00:05:16,200 --> 00:05:17,200 'cause we've been working on it 101 00:05:17,280 --> 00:05:18,360 for the last four years, really... 102 00:05:18,520 --> 00:05:20,400 -[♪ "Original Score" playing] -...uh, it just seems to be getting 103 00:05:20,480 --> 00:05:21,520 okay, you know. 104 00:05:21,600 --> 00:05:23,160 We went through the stage of the three of us 105 00:05:23,280 --> 00:05:26,320 saying hello in different situations, 106 00:05:26,400 --> 00:05:27,800 restaurants, offices. 107 00:05:28,120 --> 00:05:29,800 And then we started working together. 108 00:05:29,880 --> 00:05:31,800 And then, of course, it ends up with us recording together. 109 00:05:31,880 --> 00:05:33,360 [George] Twenty-one minutes late already. 110 00:05:33,440 --> 00:05:35,360 [Ringo] Oh, what do you wanna do? Take it out me wages? 111 00:05:35,440 --> 00:05:36,960 -[George laughs] -[Ringo] What's that? 112 00:05:37,040 --> 00:05:38,360 -[George] Hello. -[Paul] Hello, George. 113 00:05:38,480 --> 00:05:39,720 -[Ringo] Hi, man. -[Neil Aspinall] Hi, Paul. 114 00:05:39,840 --> 00:05:41,040 -Hello, Neil. -[George] How are you? 115 00:05:41,120 --> 00:05:43,120 Hello, George. Very well, thank you. 116 00:05:43,240 --> 00:05:45,400 [George] Nice to see you. Very nice. 117 00:05:45,880 --> 00:05:48,480 Oh, hello, vegetarian leather jacket? 118 00:05:48,560 --> 00:05:51,440 -[Ringo laughs] -Yeah. Yes. Yes, it is. 119 00:05:51,520 --> 00:05:53,080 Yeah. Yes, it is. 120 00:05:53,160 --> 00:05:55,160 And boots are vegetarian leather boots. 121 00:05:55,280 --> 00:05:56,640 -Hello, darling. -[Ringo] Hi, sweetie. 122 00:05:56,720 --> 00:05:57,960 [Paul] Do you want me to kiss you? 123 00:05:58,040 --> 00:05:59,280 [Ringo] Yeah. I always like a little peck. 124 00:05:59,360 --> 00:06:00,840 -[Paul] Yes, okay. -[Ringo] How are you doing? 125 00:06:00,920 --> 00:06:01,920 [indistinct chatter] 126 00:06:02,000 --> 00:06:03,400 -Linda: Oh, no! -[Paul] Hi. 127 00:06:03,480 --> 00:06:04,840 -[Barbara] Hi. -[Paul] Lovely, thanks, yeah. 128 00:06:04,960 --> 00:06:06,240 -[Ringo] Hi. -[George] Barbara, how are you? 129 00:06:06,360 --> 00:06:07,600 -How're you? -[Paul] Hiya. Not bad. Good. 130 00:06:07,680 --> 00:06:08,880 Hello, darling. 131 00:06:08,960 --> 00:06:10,320 [Ringo] Oh, so we've got all the girls now. 132 00:06:10,400 --> 00:06:13,040 [Neil] Hello. -[Olivia] Kisses. Kisses. Hello. 133 00:06:13,280 --> 00:06:14,840 [Ringo] ♪ Candy kiss for you ♪ 134 00:06:14,920 --> 00:06:16,800 -And I can be on it, too. Paul? -[♪ guitar strumming] 135 00:06:16,880 --> 00:06:19,560 -[Paul] There you are. -There we are. How's the light? 136 00:06:19,920 --> 00:06:20,920 [Paul] It's wonderful. 137 00:06:21,000 --> 00:06:23,040 Could you do something exciting, please? 138 00:06:23,120 --> 00:06:25,120 One, two... Huh! 139 00:06:25,240 --> 00:06:26,680 -[♪ "Raunchy" playing] -[Ringo] It brought back 140 00:06:26,760 --> 00:06:27,800 a lot of good memories, 141 00:06:27,880 --> 00:06:29,800 and it also gave me a chance to hang out with, uh, 142 00:06:29,880 --> 00:06:31,440 Paul and George again. 143 00:06:31,720 --> 00:06:33,920 The best thing was the three of us sitting around. 144 00:06:34,000 --> 00:06:35,280 I don't think we did it right. 145 00:06:35,360 --> 00:06:36,560 It wasn't like that, though, was it? 146 00:06:36,640 --> 00:06:38,400 We could kick in with each other. "What?" 147 00:06:38,480 --> 00:06:40,160 "Oh, do you remember that?" "No." "Oh, that's..." 148 00:06:40,240 --> 00:06:41,480 "Yeah, I remember now." 149 00:06:41,560 --> 00:06:43,720 -[George] Who is this? -[Paul] That's John. 150 00:06:43,800 --> 00:06:44,960 -[George] Oh, is it? -[♪ music concludes] 151 00:06:45,040 --> 00:06:46,800 -["Original Score" playing] -[Paul] John Lennon of the Beatles 152 00:06:46,920 --> 00:06:48,360 [Paul] The good thing about the Anthology 153 00:06:48,440 --> 00:06:50,080 is that it's four of us. 154 00:06:50,480 --> 00:06:52,680 You know, even though John's not here, he's here. 155 00:06:52,800 --> 00:06:55,240 He's represented. He talks. 156 00:06:55,320 --> 00:06:56,720 Okay, it's old interviews and stuff. 157 00:06:56,800 --> 00:06:58,600 It doesn't matter. It's still he's there. 158 00:06:59,040 --> 00:07:01,120 You know, his point of view comes over. 159 00:07:01,280 --> 00:07:04,320 People demand that you think, "How long are you gonna last?" 160 00:07:04,400 --> 00:07:07,280 Well, you can't say, you know. You can be big-headed and say, 161 00:07:07,360 --> 00:07:09,160 "Yeah, we're going to last ten years." 162 00:07:09,360 --> 00:07:11,640 But as soon as you've said that, you think, you know, 163 00:07:11,720 --> 00:07:13,160 "We're lucky if we last three months." 164 00:07:13,560 --> 00:07:17,920 It was interesting to actually get back together. 165 00:07:18,000 --> 00:07:21,280 You know, in some way I feel sorry for John because, 166 00:07:21,360 --> 00:07:22,960 you know, the Beatles went through 167 00:07:23,040 --> 00:07:24,040 a lot of good times, 168 00:07:24,120 --> 00:07:26,320 but also went through some turbulent times. 169 00:07:26,680 --> 00:07:29,280 And as everybody knows, you know, when we split up, 170 00:07:29,360 --> 00:07:32,840 kind of, everybody was a bit fed up with each other, but... 171 00:07:33,200 --> 00:07:36,280 for Ringo, Paul and I, we've had the opportunity 172 00:07:36,560 --> 00:07:39,160 to, like, have all that go down the river 173 00:07:39,240 --> 00:07:42,880 and under the bridge and to get together again 174 00:07:42,960 --> 00:07:44,440 in a new light. 175 00:07:44,640 --> 00:07:47,600 And I feel a bit sorry that John wasn't able to do that. 176 00:07:47,880 --> 00:07:51,120 I think he would have really enjoyed this opportunity 177 00:07:51,280 --> 00:07:52,520 to be with us again. 178 00:07:53,440 --> 00:07:55,200 We'd all had enough time to breathe, 179 00:07:55,280 --> 00:07:57,880 and I think it's much easier to... 180 00:07:57,960 --> 00:08:00,200 to look at it now from a distance. 181 00:08:02,720 --> 00:08:07,080 We started off trying to make the definitive story 182 00:08:07,160 --> 00:08:10,360 of the Beatles and ended up realizing 183 00:08:10,440 --> 00:08:14,680 that it's almost impossible to get the definitive story 184 00:08:14,800 --> 00:08:17,440 because people look at things from different points of view. 185 00:08:18,680 --> 00:08:23,720 The Beatles Anthology is as much of the history of the Beatles 186 00:08:23,840 --> 00:08:25,480 that we can possibly get. 187 00:08:26,840 --> 00:08:29,720 If I was doing my anthology, it would be different. 188 00:08:30,000 --> 00:08:31,640 You know, I'd have different things in. 189 00:08:31,720 --> 00:08:33,680 Uh, George the same, Paul the same. 190 00:08:33,760 --> 00:08:36,240 And, you know, that's how it works. 191 00:08:36,680 --> 00:08:39,200 [George] This is the thing, you see, everybody sees life 192 00:08:39,400 --> 00:08:41,840 as it's happening through their own eyes. 193 00:08:42,120 --> 00:08:43,480 Certainly, when you get a situation 194 00:08:43,560 --> 00:08:45,200 like the Beatles' story, 195 00:08:45,520 --> 00:08:48,360 everybody had their own idea of what happened. 196 00:08:48,840 --> 00:08:50,680 [Paul] I mean, I found out more than I ever knew 197 00:08:50,760 --> 00:08:52,480 about the other guys from the Anthology. 198 00:08:52,600 --> 00:08:55,520 It's like memoirs, you know, there it all suddenly is. 199 00:08:55,600 --> 00:08:58,080 There they are, the hippest group in history. 200 00:08:58,480 --> 00:09:00,760 [♪ "A Day In The Life" orchestral crescendo playing] 201 00:09:00,840 --> 00:09:03,720 [camera shutter clicks] 202 00:09:04,680 --> 00:09:05,680 [Ringo] At the beginning, 203 00:09:05,760 --> 00:09:06,840 -when I joined... -[♪ music concludes] 204 00:09:06,920 --> 00:09:09,400 ...Paul was the only one who would sleep with me. 205 00:09:09,480 --> 00:09:11,520 [George] Well, there was actually a little bit... 206 00:09:11,600 --> 00:09:13,480 -[laughter] -...of a thing to that. 207 00:09:13,560 --> 00:09:15,120 -I was never very prejudiced. -[George] No. 208 00:09:15,440 --> 00:09:16,720 -[George] No, I thought... -What was it? 209 00:09:16,800 --> 00:09:20,400 ...that was the best move, really, because when you joined, 210 00:09:20,480 --> 00:09:21,920 and you were, like, the new fella... 211 00:09:22,000 --> 00:09:23,000 -[Ringo] Sure. -...and nobody... 212 00:09:23,080 --> 00:09:24,720 And I thought, well, if I hang out with you, 213 00:09:24,800 --> 00:09:27,000 then they'll all be like, you know... 214 00:09:27,080 --> 00:09:28,800 So I thought it'd be good to, you know... 215 00:09:28,920 --> 00:09:29,960 [Paul] Put Paul with him. 216 00:09:30,040 --> 00:09:31,120 -Yeah. Just because... -[Ringo laughs] 217 00:09:31,200 --> 00:09:32,200 [George] Because then-- 218 00:09:32,280 --> 00:09:33,360 [Paul] It would be all right then. 219 00:09:33,400 --> 00:09:34,520 [George] Yeah, it would 'cause then-- 220 00:09:34,640 --> 00:09:36,640 [Ringo] Well, anyway... But then it changed, it would be with anybody. 221 00:09:36,720 --> 00:09:38,840 I mean, for a while it'd be us. For a while it'd be us. 222 00:09:38,920 --> 00:09:40,600 -It'd be John and I. We didn't ... -[George strums ukulele] 223 00:09:40,640 --> 00:09:42,560 [Paul] It was great. You're sort of staying in a room 224 00:09:42,640 --> 00:09:44,960 with a friend and that, and seeing his habits. 225 00:09:45,040 --> 00:09:47,760 I mean, you... you stayed up late, didn't you? 226 00:09:47,840 --> 00:09:49,040 -Yeah. -You couldn't sleep. 227 00:09:49,120 --> 00:09:51,200 So you'd always have to-- He'd have to have the light on, 228 00:09:51,280 --> 00:09:52,360 so it'd be like you ... 229 00:09:52,440 --> 00:09:53,960 [Ringo chuckles] 'Cause I was frightened of the dark. 230 00:09:54,080 --> 00:09:56,920 Aw, poor lad. So you'd have to, you know, 231 00:09:57,000 --> 00:09:58,120 he'd have the light over there, 232 00:09:58,200 --> 00:09:59,360 and you'd have to sleep this way, 233 00:09:59,440 --> 00:10:01,000 you couldn't, like, ask him to turn it off. 234 00:10:01,120 --> 00:10:02,120 No, it was good, though. 235 00:10:02,280 --> 00:10:04,080 You know, you get to know each other a bit that way. 236 00:10:04,160 --> 00:10:05,520 [♪ "Original Score" playing] 237 00:10:05,600 --> 00:10:07,440 [interviewer] Well, it seems to me that after your show, 238 00:10:07,520 --> 00:10:10,080 your real problems really begin. Do you deliberately try 239 00:10:10,160 --> 00:10:11,960 and create this sort of screaming reaction? 240 00:10:12,040 --> 00:10:14,640 No, we just, you know, arrive at the theater 241 00:10:14,720 --> 00:10:16,680 and they're always there, waiting. [laughs] 242 00:10:16,760 --> 00:10:19,800 And whenever we're doing a show, the police always come and say, 243 00:10:19,880 --> 00:10:21,720 "Don't look out the window, you know, 'cause you excite them." 244 00:10:21,800 --> 00:10:23,080 -[interviewer laughs] What? -[chuckles] 245 00:10:23,160 --> 00:10:26,400 [crowd clamoring] 246 00:10:28,240 --> 00:10:30,000 [George] You know, we were so stressed out. 247 00:10:30,080 --> 00:10:33,440 We'd been through every riot and jam. 248 00:10:33,560 --> 00:10:34,640 Every city we went to, 249 00:10:34,720 --> 00:10:36,720 there was some kind of a jam going on, 250 00:10:36,800 --> 00:10:39,120 and the noise, people yelling at us all the time, 251 00:10:39,200 --> 00:10:41,920 and being confined to a little room 252 00:10:42,040 --> 00:10:44,600 -or a plane or a car. -[crowd clamoring] 253 00:10:45,120 --> 00:10:46,680 [John] But we never thought about it too much 254 00:10:46,760 --> 00:10:48,480 because it was an ongoing thing. 255 00:10:48,880 --> 00:10:51,720 It was happening to us and it was hard to see, 256 00:10:51,800 --> 00:10:53,040 you know. We were just in the middle, 257 00:10:53,120 --> 00:10:54,760 being ushered from room to room. 258 00:10:55,800 --> 00:10:58,480 [Ringo] I mean, it was just crazy times, but great times. 259 00:10:58,560 --> 00:11:00,440 I mean, you know, I had a really good time, 260 00:11:00,520 --> 00:11:02,600 -but it was crazy. -[screaming] 261 00:11:05,600 --> 00:11:07,600 You know, we were lucky that there were four of us 262 00:11:07,680 --> 00:11:09,800 -to take that pressure. -[♪ "Original Score" playing] 263 00:11:10,080 --> 00:11:12,320 The four of us held each other together, 264 00:11:12,440 --> 00:11:15,200 and at certain times, you know, each one of us went mad, 265 00:11:15,640 --> 00:11:17,760 but the other three could bring us back. 266 00:11:18,200 --> 00:11:19,440 I was an only child, 267 00:11:19,760 --> 00:11:22,120 and suddenly I had, uh, three brothers. 268 00:11:22,320 --> 00:11:24,080 We were all really close. We looked out for each other, 269 00:11:24,160 --> 00:11:26,600 you know, and this was just brilliant for me. 270 00:11:26,880 --> 00:11:31,560 We all had each other to dilute the stress. 271 00:11:32,200 --> 00:11:35,560 And being born in Liverpool, the sense of humor 272 00:11:35,880 --> 00:11:39,520 was very important, and so we always had a laugh as well. 273 00:11:39,600 --> 00:11:43,560 But there was a point where, you know, enough was enough, 274 00:11:43,680 --> 00:11:46,760 and I think that really was the major contributor 275 00:11:46,960 --> 00:11:49,880 to the Beatles splitting up, was stress. 276 00:11:49,960 --> 00:11:51,760 We all just wanted out, you know? 277 00:11:51,840 --> 00:11:53,560 Give us a bit of peace. 278 00:11:55,040 --> 00:11:57,920 When they broke up, John said, "Hey, you know, it's like, 279 00:11:58,000 --> 00:12:02,920 what do you want? We gave our whole lives to this thing," 280 00:12:03,040 --> 00:12:04,880 you know, to-- almost to the exclusion 281 00:12:04,960 --> 00:12:05,960 of everything else, 282 00:12:06,040 --> 00:12:07,840 right the way through their youth. 283 00:12:08,440 --> 00:12:09,640 -Get back. -[Neil Aspinall] It's over. 284 00:12:09,720 --> 00:12:12,640 Let's get on with doing something else. 285 00:12:13,040 --> 00:12:15,560 And then you look back on it afterwards and think, 286 00:12:15,640 --> 00:12:16,960 "Phwoah, how did I do that?" 287 00:12:17,080 --> 00:12:19,240 You know, "How did I get through that?" 288 00:12:20,320 --> 00:12:22,640 Everything we did, I feel we did for good, 289 00:12:23,040 --> 00:12:25,280 and that still relates to today. 290 00:12:25,880 --> 00:12:27,840 It always goes back to the music, 291 00:12:27,960 --> 00:12:30,440 to the personalities. All you need is love! 292 00:12:30,960 --> 00:12:32,880 [♪ "All You Need Is Love" playing] 293 00:12:34,080 --> 00:12:36,360 ♪ All you need is love ♪ 294 00:12:38,760 --> 00:12:40,920 ♪ All you need is love ♪ 295 00:12:43,360 --> 00:12:46,720 ♪ All you need is love, love ♪ 296 00:12:48,080 --> 00:12:49,560 ♪ Love is all you need ♪ 297 00:12:52,840 --> 00:12:55,800 -[♪ music concludes] -Yes, kill it. Right. Ours was very good. 298 00:12:55,880 --> 00:12:57,840 Thank you, John. That's fine. I think that will do 299 00:12:57,920 --> 00:12:59,040 for the vocal backing very nicely. 300 00:12:59,120 --> 00:13:00,800 -We'll get the musicians in now. -[Paul] Thanks, George. 301 00:13:00,880 --> 00:13:02,080 [George Martin] And we'll get another take. 302 00:13:02,160 --> 00:13:03,760 -[John] Great. Oh, great, great. -[George Martin] Okay. 303 00:13:03,840 --> 00:13:05,160 Run back the tape, please, Richard. 304 00:13:05,560 --> 00:13:07,240 [tape rewinds] 305 00:13:08,520 --> 00:13:10,000 [♪ "Love Me Do" playing] 306 00:13:11,760 --> 00:13:13,480 [George] Certainly, I felt that we had 307 00:13:13,560 --> 00:13:15,160 something totally different, 308 00:13:15,240 --> 00:13:17,080 even if it was just our attitude. 309 00:13:17,400 --> 00:13:19,240 It's just some little magic 310 00:13:19,320 --> 00:13:22,040 that when you get certain people together, 311 00:13:22,120 --> 00:13:24,600 -it makes fire or it makes dynamite. -[♪ music concludes] 312 00:13:24,680 --> 00:13:26,480 -[♪ "Helter Skelter" playing] -♪ Tell me, tell me, tell me ♪ 313 00:13:26,560 --> 00:13:28,800 ♪ Come on, tell me the answer ♪ 314 00:13:29,040 --> 00:13:30,440 ♪ Well, you may... ♪ 315 00:13:30,520 --> 00:13:33,760 ♪ ...be a lover, but you ain't no dancer ♪ 316 00:13:34,600 --> 00:13:38,000 ♪ Look out! Helter Skelter Du du du du du du ♪ 317 00:13:38,120 --> 00:13:40,480 ♪ Helter Skelter Du du du du du du ♪ 318 00:13:40,640 --> 00:13:43,320 ♪ Helter Skelter Du du du du du du ♪ 319 00:13:43,480 --> 00:13:45,680 [vocalizing] 320 00:13:45,760 --> 00:13:47,560 It was all accident, really. 321 00:13:48,200 --> 00:13:51,000 You know, those funny haircuts, and then the funny jackets, 322 00:13:51,160 --> 00:13:52,520 and the funny boots. 323 00:13:53,400 --> 00:13:56,880 I think we were just very simple and, um... naive. 324 00:13:56,960 --> 00:13:58,520 -[♪ music concludes] -[reporter 1] I got a question. 325 00:13:58,600 --> 00:13:59,600 [♪ "Leave My Kitten Alone" playing] 326 00:13:59,680 --> 00:14:00,960 Do you plan to get a haircut at all? 327 00:14:01,040 --> 00:14:02,120 -No. No. No, thanks. -Nope. Nope. 328 00:14:02,200 --> 00:14:03,200 I had one yesterday. 329 00:14:03,280 --> 00:14:05,920 -[crowd laughs] -[Paul] I remember when John, 330 00:14:06,000 --> 00:14:09,240 he had his 21st, and he got a hundred quid off his uncle 331 00:14:09,320 --> 00:14:12,040 who was a dentist in Edinburgh. Um... 332 00:14:12,360 --> 00:14:15,640 [chuckles] Kind of-- You know, very, very elevated stuff, that. 333 00:14:15,720 --> 00:14:17,160 We'd never known the likes of, 334 00:14:17,240 --> 00:14:19,480 like, anyone who had a relative as a dentist. 335 00:14:19,560 --> 00:14:21,960 -Or anybody who had a hundred quid! -Or a hundred quid. 336 00:14:22,040 --> 00:14:23,520 -[laughs] -Ah, well, to this day I say, 337 00:14:23,600 --> 00:14:25,360 no one's ever given me a hundred quid on my birthday. 338 00:14:25,440 --> 00:14:27,600 Smack! A hundred smackers! Whoa! 339 00:14:28,120 --> 00:14:31,400 But John got these-- this hundred quid, so he said, 340 00:14:31,480 --> 00:14:32,960 "Oh, you know, well, what shall we do?" 341 00:14:33,040 --> 00:14:36,040 'Cause we were hanging out. So we decided to go to Spain, 342 00:14:36,120 --> 00:14:38,640 spend this hundred quid. We got as far as Paris. 343 00:14:38,720 --> 00:14:40,000 We hitchhiked. 344 00:14:40,080 --> 00:14:43,600 Anyway, we bumped into Jürgen, who was our friend from Astrid 345 00:14:43,680 --> 00:14:45,160 and Jürgen and Klaus. 346 00:14:45,480 --> 00:14:48,640 Bumped into Jürgen and said, "Your hair's nice." 347 00:14:48,720 --> 00:14:50,280 You know, "Could you do ours like that?" 348 00:14:50,400 --> 00:14:52,040 -[George laughs] -So he said, "Are you sure 349 00:14:52,120 --> 00:14:54,040 you want this? You know, maybe..." [mutters indistinctly] 350 00:14:54,120 --> 00:14:55,520 -[George] Hello, sailor! -Yeah, go on, you know, 351 00:14:55,600 --> 00:14:58,080 we're on holiday, Paris, go on, and all that. 352 00:14:58,160 --> 00:15:00,520 And so he did it. And then we arrived back in Liverpool, 353 00:15:00,600 --> 00:15:02,560 me and John with this sort of funny hair forward, 354 00:15:02,640 --> 00:15:03,960 like you were saying, 355 00:15:04,200 --> 00:15:06,040 and everyone was a bit dubious about it, 356 00:15:06,200 --> 00:15:07,960 but we sort of kept it forward. 357 00:15:08,280 --> 00:15:09,920 -Sounds good to me. -And you brushed yours forward. 358 00:15:10,000 --> 00:15:12,640 Ringo always had a big gray shock under there 359 00:15:12,800 --> 00:15:14,360 -from when he was a kid. -[Ringo] It's still there. 360 00:15:14,440 --> 00:15:17,040 [George] Well, he had to have his done to join the band then. 361 00:15:17,120 --> 00:15:18,880 But it was cool, 'cause when it came forward, 362 00:15:19,000 --> 00:15:21,600 -you didn't see his gray bit. -And he had a beard too. 363 00:15:21,720 --> 00:15:23,360 -[Paul] Beard's gotta go. -[Ringo] Shave off the beard. 364 00:15:23,480 --> 00:15:25,480 -It's the only way I could join. -[Paul] And he had to... 365 00:15:25,560 --> 00:15:27,680 -[♪ music concludes] -You know, we wanna see these faces. 366 00:15:27,760 --> 00:15:29,200 [♪ "Komm, Gib Mir Deine Hand" playing] 367 00:15:29,280 --> 00:15:32,560 We actually saw a London band in Hamburg. 368 00:15:33,200 --> 00:15:35,560 And one of these London bands had this boot 369 00:15:35,720 --> 00:15:38,840 with a big chiselly pointy toe and a Cuban heel, 370 00:15:38,920 --> 00:15:40,680 and we thought, "Hmm, they're good." 371 00:15:40,840 --> 00:15:42,440 -[Ringo] Hmm. -"Where did you get those?" 372 00:15:42,520 --> 00:15:44,480 And he said, "Anello and Davide's." 373 00:15:45,160 --> 00:15:46,600 And we went to Anello and Davide's 374 00:15:46,680 --> 00:15:48,880 and bought those boots, and then later we thought, 375 00:15:48,960 --> 00:15:51,680 "Hey, they make 'em. Well, we'll get our own made." 376 00:15:51,880 --> 00:15:53,080 [Paul] It was a ballet shop, wannit? 377 00:15:53,160 --> 00:15:54,800 [George] And so the one that became the Beatle boot 378 00:15:54,880 --> 00:15:57,320 was like ones we had made, but the original one, 379 00:15:57,520 --> 00:16:00,160 do you remember, it had that elastic down the side and... 380 00:16:00,240 --> 00:16:02,000 [Paul] Yeah. It was a ballet shop, wasn't it? 381 00:16:02,080 --> 00:16:03,440 Anello and Davide was ballet, 382 00:16:03,520 --> 00:16:06,520 made ballet stuff and tutus and shoes. You could... 383 00:16:06,600 --> 00:16:07,880 It's where all the little girls went. 384 00:16:07,960 --> 00:16:09,640 So we were getting our, um, Beatle boots made, 385 00:16:09,720 --> 00:16:11,640 -and there'd be little... -[George] We'd be getting our tutus made. 386 00:16:11,680 --> 00:16:13,480 -...ladies with their children, you know. -[♪ music concludes] 387 00:16:13,560 --> 00:16:15,160 [♪ "Raunchy" playing] 388 00:16:16,720 --> 00:16:22,320 ♪ Uh-huh-huh, yeah ♪ 389 00:16:22,640 --> 00:16:25,480 ♪ Ah-ha-ha, yeah ♪ 390 00:16:34,520 --> 00:16:41,200 [vocalizing] 391 00:16:47,400 --> 00:16:51,760 ♪ Wow! Woo, hee-hee-hah! ♪ 392 00:16:54,320 --> 00:16:56,760 ♪ Yeah, ah-ha-ha ♪ 393 00:16:58,600 --> 00:17:00,040 ♪ Ah-ha-ha ♪ 394 00:17:00,520 --> 00:17:03,840 Here are four of the nicest young kids we've ever had on our stage. 395 00:17:04,120 --> 00:17:05,720 -[♪ music concludes] -The Beatles! Bring 'em on out! 396 00:17:05,800 --> 00:17:08,200 -[crowd cheers, applauds] -[♪ "This Boy" playing] 397 00:17:13,240 --> 00:17:16,200 -♪ That boy ♪ -♪ This boy ♪ 398 00:17:17,360 --> 00:17:20,280 ♪ Took my love away ♪ 399 00:17:20,440 --> 00:17:21,680 [♪ "I Want To Hold Your Hand" playing] 400 00:17:21,760 --> 00:17:24,240 ♪ Oh yeah, I'll tell you something ♪ 401 00:17:25,080 --> 00:17:27,920 ♪ I think you'll understand ♪ 402 00:17:28,120 --> 00:17:31,160 ♪ When I say that something ♪ 403 00:17:32,280 --> 00:17:35,160 ♪ I wanna hold your hand ♪ 404 00:17:35,240 --> 00:17:36,640 [♪ "Roll Over Beethoven" playing] 405 00:17:36,720 --> 00:17:37,720 ♪ Move on up ♪ 406 00:17:37,800 --> 00:17:40,560 ♪ Just a trifle further and reel and rock it ♪ 407 00:17:40,680 --> 00:17:43,200 ♪ Roll it over Roll over Beethoven ♪ 408 00:17:43,320 --> 00:17:45,400 -♪ Dig these rhythm and blues ♪ -[♪ music concludes] 409 00:17:45,480 --> 00:17:47,440 These things disappear into history, obviously... 410 00:17:47,520 --> 00:17:49,280 -[♪ "Original Score" playing] -...and it being 30 years ago, 411 00:17:49,360 --> 00:17:51,280 it's get-- it's all getting fairly legendary, 412 00:17:51,360 --> 00:17:53,280 a bit too legendary for our liking, you know, 413 00:17:53,360 --> 00:17:56,160 'cause we're still living it. But it is lovely, 414 00:17:56,240 --> 00:17:57,960 particularly with the young folks, 415 00:17:58,120 --> 00:18:01,520 for them to say, "Wow, you're good live, man." 416 00:18:01,680 --> 00:18:03,840 You know, 'cause they know how hard it is to get up 417 00:18:03,920 --> 00:18:05,480 and be live and sing good. 418 00:18:05,680 --> 00:18:07,000 [♪ "She Loves You" playing] 419 00:18:07,240 --> 00:18:09,120 ♪ You think you've lost your love ♪ 420 00:18:09,640 --> 00:18:12,720 ♪ Well, I saw her yesterday ♪ 421 00:18:13,160 --> 00:18:15,800 ♪ It's you she's thinking of ♪ 422 00:18:15,880 --> 00:18:17,520 -[♪ music fades] -[George] All I wanted to do 423 00:18:17,600 --> 00:18:19,000 was be in a band. 424 00:18:19,080 --> 00:18:21,840 I didn't want a proper job, and I had no idea 425 00:18:21,920 --> 00:18:24,040 what I would have done had I not done this. 426 00:18:24,120 --> 00:18:27,800 -[♪ music concludes] -But at the age of 17, I was in Hamburg, 427 00:18:27,880 --> 00:18:31,320 and by the time I was 23, we'd done Sgt. Pepper. 428 00:18:31,760 --> 00:18:33,400 [♪ "Sgt. Pepper's Lonely Hearts Club Band" playing] 429 00:18:34,920 --> 00:18:36,760 You know, we were always playing. 430 00:18:36,840 --> 00:18:38,120 That was what we wanted to do. 431 00:18:38,200 --> 00:18:39,440 That was the dream when we were kids. 432 00:18:39,960 --> 00:18:43,640 The dream to be, like, so famous was never my criteria. 433 00:18:43,880 --> 00:18:47,080 Mine was just to really play with really good people. 434 00:18:47,200 --> 00:18:48,480 And the rest just came along with it. 435 00:18:48,560 --> 00:18:49,720 [♪ "Long Tall Sally" playing] 436 00:18:49,800 --> 00:18:51,600 ♪ We're gonna have some fun tonight ♪ 437 00:18:51,680 --> 00:18:53,920 ♪ Have some fun tonight ♪ 438 00:18:54,000 --> 00:18:55,320 [♪ "I Saw Her Standing There" playing] 439 00:18:55,400 --> 00:18:58,800 ♪ Since I saw her standing there ♪ 440 00:18:58,880 --> 00:18:59,960 [♪ "Twist And Shout" playing] 441 00:19:00,040 --> 00:19:03,600 ♪ Ah, ah, yeah ♪ 442 00:19:06,480 --> 00:19:12,040 -[♪ music concludes] -[crowd cheers, applauds] 443 00:19:19,200 --> 00:19:23,120 [helicopter blades flutter] 444 00:19:23,200 --> 00:19:24,800 [♪ "Baby, What You Want Me To Do" playing] 445 00:19:24,920 --> 00:19:29,840 -♪ Yeah, yeah, yes ♪ -♪ Yeah, yeah, yeah ♪ 446 00:19:32,760 --> 00:19:36,480 ♪ You got me doin' what you want me ♪ 447 00:19:36,880 --> 00:19:41,720 ♪ Baby, why d'you wanna let me go? ♪ 448 00:19:43,320 --> 00:19:45,440 Take it, bro. Yeah. 449 00:19:45,520 --> 00:19:46,960 ♪ Ah ha ♪ 450 00:19:50,440 --> 00:19:51,760 ♪ Yeah ♪ 451 00:19:56,920 --> 00:19:58,000 -Yeah. [chuckles] -Oh dear. 452 00:19:58,080 --> 00:20:00,880 ♪ Hee-hee, hee-hee, yeah ♪ 453 00:20:01,880 --> 00:20:04,240 ♪ Ah ha, yeah ♪ 454 00:20:09,200 --> 00:20:11,880 [camera shutter clicks] 455 00:20:14,440 --> 00:20:16,320 ♪ Oh, yeah! ♪ 456 00:20:19,720 --> 00:20:21,160 -Hey. Can I have a word? -[♪ music concludes] 457 00:20:21,240 --> 00:20:22,960 [Paul] When we come to our first album, 458 00:20:23,200 --> 00:20:25,520 we'd played so much that we could just 459 00:20:25,920 --> 00:20:27,720 record it here in a day, you know? 460 00:20:27,800 --> 00:20:29,200 This is where we did that, 461 00:20:29,280 --> 00:20:31,400 10:30 in the morning till 10:30 at night. 462 00:20:31,840 --> 00:20:34,280 But we'd done our first album, you know, in a day. 463 00:20:34,880 --> 00:20:36,320 Once we could get in the control room, 464 00:20:36,520 --> 00:20:37,920 once we had a little bit of power, 465 00:20:38,120 --> 00:20:40,360 it was really quite exciting to come in here. 466 00:20:40,440 --> 00:20:42,720 It was like a big toy playground or something. 467 00:20:43,440 --> 00:20:44,640 What are we gonna listen to, George? 468 00:20:44,720 --> 00:20:46,120 [George Martin] Yeah, he's just getting the tape. 469 00:20:46,280 --> 00:20:47,640 [♪ "Tomorrow Never Knows" playing] 470 00:20:47,720 --> 00:20:49,720 ♪ It is believing ♪ 471 00:20:49,840 --> 00:20:53,120 ♪ It is believing ♪ 472 00:20:53,760 --> 00:20:55,480 [♪ music concludes] 473 00:20:55,560 --> 00:20:56,760 -[George] All of them. -Which take? 474 00:20:56,840 --> 00:20:57,920 -All of them. -[George Martin] Um ... 475 00:20:58,000 --> 00:20:59,320 -All of them. First take. -There's only three. 476 00:20:59,400 --> 00:21:00,480 Well, the first take is very weird. 477 00:21:00,560 --> 00:21:01,920 -Oh, well, play the weird take. -Yeah, listen, 478 00:21:02,000 --> 00:21:03,400 listen to this on... 479 00:21:03,520 --> 00:21:08,080 it's like the drums and a guitar that's going at half speed. 480 00:21:08,440 --> 00:21:11,440 You know, it became easier to do experiments 481 00:21:11,520 --> 00:21:14,040 'cause we'd had a few hits. You know, that was the key. 482 00:21:14,120 --> 00:21:15,560 -[Ringo chuckles] -[Paul] It's true. 483 00:21:15,640 --> 00:21:17,280 The key was that we'd had success. 484 00:21:17,360 --> 00:21:19,600 And then it was, "Oh great, come in, lads." 485 00:21:19,720 --> 00:21:21,360 -Yeah. -"Nice to see you back again." 486 00:21:21,440 --> 00:21:23,840 And as we got more and more success, 487 00:21:23,920 --> 00:21:26,000 we were more and more able to, 488 00:21:26,360 --> 00:21:28,880 you know, try some far-out ideas. 489 00:21:28,960 --> 00:21:30,840 [♪ "Being For The Benefit Of Mr. Kite!" playing] 490 00:21:32,560 --> 00:21:37,040 And George would be, you know, really quite keen to try. 491 00:21:37,120 --> 00:21:38,560 "Well, what other ideas have you got?" 492 00:21:39,360 --> 00:21:41,600 There's only two basic track takes... 493 00:21:41,680 --> 00:21:42,680 [Ringo] Mm-hmm. 494 00:21:44,160 --> 00:21:45,640 ...which is 1 and 3. 495 00:21:45,720 --> 00:21:47,600 [♪ "Tomorrow Never Knows" playing] 496 00:21:47,680 --> 00:21:49,360 -[Ringo chuckles] -[George] That's great. 497 00:21:52,760 --> 00:21:54,800 [George] All that underwater stuff. 498 00:21:55,800 --> 00:21:58,520 We should speed that up and see what it was, 499 00:21:58,720 --> 00:22:01,160 -listen to the drum part. -Sounds great. 500 00:22:03,080 --> 00:22:04,960 -[imitates cymbal noise] -Totally different. 501 00:22:06,520 --> 00:22:07,560 [speaks indistinctly] 502 00:22:07,640 --> 00:22:09,720 ♪ Lay down your mind, exist... ♪ 503 00:22:12,960 --> 00:22:14,120 Here's the bagpipe. 504 00:22:14,720 --> 00:22:17,120 And there is 2. There's nothing... 505 00:22:17,200 --> 00:22:18,600 nothing on 2 and 3. 506 00:22:21,720 --> 00:22:24,280 [George] Hear that guitar, slowed-down guitar. 507 00:22:24,360 --> 00:22:26,480 -[mimicking guitar sound] -♪ Lay down... ♪ 508 00:22:26,640 --> 00:22:28,880 [George Martin] It's been a fairly traumatic time 509 00:22:29,000 --> 00:22:32,120 listening to all the takes again. And for them too, 510 00:22:32,720 --> 00:22:34,760 'cause it's been reliving their lives, you know. 511 00:22:35,000 --> 00:22:38,000 Paul actually said to me, "Hearing ourselves as we were, 512 00:22:38,160 --> 00:22:42,200 30 years ago, 25 years ago, and hearing ch-- 513 00:22:42,440 --> 00:22:45,840 us chatting away, um, it... it's a strange experience. 514 00:22:46,760 --> 00:22:48,680 It's like looking into an old scrapbook, 515 00:22:48,760 --> 00:22:51,160 but it's coming to life most vividly." 516 00:22:51,240 --> 00:22:52,960 [Paul] One, two, three, four. 517 00:22:53,160 --> 00:22:54,800 [♪ "What You're Doing" playing] 518 00:22:59,560 --> 00:23:00,880 [♪ music concludes] 519 00:23:01,000 --> 00:23:02,160 [Paul] George? What did it sound like 520 00:23:02,240 --> 00:23:03,400 with the bass doing a funny thing? 521 00:23:03,480 --> 00:23:05,480 Did it sound any good or did it sound just like utterly crap? 522 00:23:05,640 --> 00:23:07,000 [George Martin] There's ten years' of recording. 523 00:23:07,120 --> 00:23:09,400 It's been a kind of voyage back in time. 524 00:23:09,640 --> 00:23:12,600 We've been listening to every take of every song 525 00:23:12,680 --> 00:23:15,320 we've done and going back over those times, 526 00:23:15,400 --> 00:23:17,760 and we've discovered some interesting stuff. 527 00:23:17,880 --> 00:23:22,240 Some of the very early takes of most numbers are interesting. 528 00:23:22,400 --> 00:23:26,040 Seeing how the song developed, how they changed, in fact. 529 00:23:26,120 --> 00:23:29,440 In some instances, they started quite differently 530 00:23:29,520 --> 00:23:31,360 to the masters that we-- everybody knows. 531 00:23:31,760 --> 00:23:34,960 So we're kind of lifting the lid a bit on the Beatles, 532 00:23:35,080 --> 00:23:37,080 the way they made their records. 533 00:23:37,760 --> 00:23:39,560 [♪ "Tomorrow Never Knows" playing] 534 00:23:39,640 --> 00:23:42,080 -Oh, that was the breakdown. -Ah, now we're talking. 535 00:23:42,280 --> 00:23:44,840 Now we're talking serious music now. 536 00:23:46,280 --> 00:23:47,560 What did you say this is now... 3? 537 00:23:47,640 --> 00:23:48,800 Got the tambulis in! 538 00:23:48,960 --> 00:23:50,320 [imitates tambuli playing] 539 00:23:50,400 --> 00:23:53,120 ♪ Turn off your mind, relax and float downstream ♪ 540 00:23:53,280 --> 00:23:54,640 So what have we got there then, George? 541 00:23:54,720 --> 00:23:56,760 -Well, we've got-- -This is the real one now. 542 00:23:56,840 --> 00:23:58,080 You've got all your rhythm on 1. 543 00:23:58,160 --> 00:24:00,280 -Yeah. -Got the voice on 3. 544 00:24:00,360 --> 00:24:01,360 ♪ It is not dying ♪ 545 00:24:01,440 --> 00:24:02,560 With the tambura. 546 00:24:04,480 --> 00:24:05,520 ♪ Lay down... ♪ 547 00:24:05,600 --> 00:24:06,800 And on tracks 2 and 3, 548 00:24:07,520 --> 00:24:09,840 you've got your various tape loops 549 00:24:09,920 --> 00:24:12,080 and your guitar and tambura. 550 00:24:12,160 --> 00:24:15,200 ♪ It is shining ♪ 551 00:24:15,680 --> 00:24:17,880 ♪ It is shining ♪ 552 00:24:17,960 --> 00:24:19,680 [both chuckle] 553 00:24:19,960 --> 00:24:24,680 ♪ That you may see the meaning of within ♪ 554 00:24:24,920 --> 00:24:28,160 So I remember coming in with a little bag of loops, 555 00:24:28,520 --> 00:24:32,320 and we set 'em all up around the studio on the machines. 556 00:24:33,240 --> 00:24:34,360 But don't you remember? 557 00:24:34,440 --> 00:24:36,160 This-- This is the basic 4-track. 558 00:24:36,360 --> 00:24:38,080 But then we got the bit where we had, 559 00:24:38,160 --> 00:24:39,760 -did all the mixing. -[George] See that? 560 00:24:41,080 --> 00:24:42,920 That wasn't used, was it, that? 561 00:24:43,600 --> 00:24:44,840 [mimics instrument playing] 562 00:24:45,440 --> 00:24:46,520 [George] At that point. 563 00:24:48,600 --> 00:24:50,600 -[seagulls on playback] -[all laugh] 564 00:24:50,680 --> 00:24:52,880 [Paul] I think one of the great things about this studio 565 00:24:52,960 --> 00:24:55,040 and the way EMI was set up, was they always had 566 00:24:55,120 --> 00:24:56,800 these millions of instruments, like they've still got now, 567 00:24:56,920 --> 00:24:59,320 grand pianos, odd little pianos, and harpsichords. 568 00:24:59,400 --> 00:25:01,520 All the ones that you have got at your studio. 569 00:25:01,600 --> 00:25:03,720 And I've, well, they've ended up at my studio now 570 00:25:03,800 --> 00:25:05,480 because they were all trying to get rid of them here. 571 00:25:05,560 --> 00:25:07,040 -[George] Yeah. -[Paul] And, you know, I'll have 'em. 572 00:25:07,080 --> 00:25:08,920 And I think that was one of the reasons 573 00:25:09,000 --> 00:25:10,760 we had such interesting instrumentation 574 00:25:10,880 --> 00:25:11,920 on the Beatles records. 575 00:25:12,040 --> 00:25:14,120 If it hadn't have been here, it would all have been guitars, 576 00:25:14,200 --> 00:25:15,400 bass and drums. 577 00:25:16,080 --> 00:25:18,120 [♪ "Carry That Weight" playing] 578 00:25:25,640 --> 00:25:27,600 -A bit cheesy that... -Guitar solo... 579 00:25:33,520 --> 00:25:35,320 on the same track as the vocals. 580 00:25:35,960 --> 00:25:36,960 Drop in. 581 00:25:37,040 --> 00:25:40,080 ♪ I never give you my pillow ♪ 582 00:25:40,200 --> 00:25:42,000 -Don't remember that harmony either. -Yeah. 583 00:25:42,400 --> 00:25:47,400 ♪ I only send you my invitations ♪ 584 00:25:47,520 --> 00:25:48,960 -[♪ music concludes] -Some of the people here, 585 00:25:49,040 --> 00:25:51,480 the engineer, for instance, 586 00:25:51,560 --> 00:25:54,720 would always be, like, trying to go home at 5:30. 587 00:25:54,800 --> 00:25:56,120 And we'd all be, you know, try-- 588 00:25:56,200 --> 00:25:58,760 well, you know, trying to make history or whatever. 589 00:25:58,840 --> 00:26:02,760 And Mal, our roadie, would have this big teapot, 590 00:26:03,080 --> 00:26:05,240 it was a big aluminum teapot, and he'd go out, and... 591 00:26:05,320 --> 00:26:09,280 I remember one specific incident where he made a pot of tea, 592 00:26:09,360 --> 00:26:11,680 and we doused the tea with uppers. 593 00:26:12,120 --> 00:26:13,920 And then he was up there with George Martin... 594 00:26:14,000 --> 00:26:15,320 [♪ "Lucy In The Sky With Diamonds" playing] 595 00:26:15,400 --> 00:26:18,160 ...and I think it was Geoff Emerick giving them this tea. 596 00:26:18,240 --> 00:26:20,440 'Cause they were, you know, "Can we go home now?" you know. 597 00:26:20,880 --> 00:26:22,880 "No, you can't, you bastard. Have a cup of tea!" 598 00:26:22,960 --> 00:26:24,440 And-- [laughs] 599 00:26:24,520 --> 00:26:26,880 And, uh, you know, until they were up there, 600 00:26:26,960 --> 00:26:29,280 you know, like, till 11 o'clock at night. 601 00:26:29,360 --> 00:26:30,440 And then they didn't wanna go home. 602 00:26:30,520 --> 00:26:31,720 -Yeah. -[Ringo] They wouldn't let us leave. 603 00:26:31,800 --> 00:26:33,400 [Paul laughs] They don't know to this day 604 00:26:33,480 --> 00:26:34,600 till they see this program. 605 00:26:34,680 --> 00:26:36,720 George hasn't come down yet, George Martin. 606 00:26:36,800 --> 00:26:39,120 [Paul laughs] Yeah. He's still up there, yeah. 607 00:26:39,200 --> 00:26:40,320 There was a bloke upstairs 608 00:26:40,400 --> 00:26:41,680 who could cut an acetate for you. 609 00:26:41,760 --> 00:26:43,240 -Or they'd give you... -Oh, it's like a reel. 610 00:26:43,320 --> 00:26:44,400 -a little mix. -A reel-to-reel. 611 00:26:44,480 --> 00:26:46,720 -Yeah. -On a small reel like that, 612 00:26:46,800 --> 00:26:50,000 or on a pencil, wrapped around a pencil. [laughs] 613 00:26:50,080 --> 00:26:51,680 And then when cassettes came out, 614 00:26:51,760 --> 00:26:53,720 we had little Philips cassettes, 615 00:26:53,800 --> 00:26:55,760 and you used to just stick 'em on the mixing desk, 616 00:26:55,840 --> 00:26:57,800 and just, they would listen to the speakers. 617 00:26:57,880 --> 00:26:59,320 -Like, not good quality. -Yeah. 618 00:26:59,400 --> 00:27:00,880 But it was enough. I remember going home 619 00:27:01,040 --> 00:27:03,680 in the van and playing, "Please Mister Postman". 620 00:27:03,760 --> 00:27:04,760 [♪ "Please Mister Postman" playing] 621 00:27:04,840 --> 00:27:05,920 ♪ Wait! Oh, yes ♪ 622 00:27:06,000 --> 00:27:07,920 ♪ Wait a minute, Mister Postman ♪ 623 00:27:08,040 --> 00:27:11,840 -♪ Wait! ♪ -♪ Wait, Mister Postman ♪ 624 00:27:11,920 --> 00:27:13,240 -♪ Mister Postman... ♪ -[♪ music concludes] 625 00:27:13,320 --> 00:27:15,480 So we're like, "Yeah, that's fantastic!" 626 00:27:15,720 --> 00:27:19,120 [♪ "Blackbird" playing] 627 00:27:19,840 --> 00:27:23,720 A-one, two, a-one, two, three, four. 628 00:27:23,800 --> 00:27:28,080 ♪ Blackbird singing in the dead of night... ♪ 629 00:27:28,160 --> 00:27:30,000 [Ringo] We'd always come in here when Paul called us. 630 00:27:30,080 --> 00:27:31,720 [Paul chuckles] 631 00:27:31,800 --> 00:27:33,720 -He was always phoning us. -[Paul] And they always used to think 632 00:27:33,800 --> 00:27:35,560 I was, like, the work fiend. I remember, like, 633 00:27:35,640 --> 00:27:37,640 on Let It Be, some meeting we had, 634 00:27:37,720 --> 00:27:39,400 we were all sitting around, and we hadn't worked 635 00:27:39,480 --> 00:27:41,720 for, like, a couple of months, and I'm saying, "Great!" 636 00:27:41,800 --> 00:27:43,520 You ran out of beauty competitions to judge. 637 00:27:43,600 --> 00:27:45,160 Well, there-- [laughs] 638 00:27:45,240 --> 00:27:47,440 You know, I judged a lot of competitions 639 00:27:47,520 --> 00:27:49,320 -that... that year. You know. -[laughs] 640 00:27:49,400 --> 00:27:51,200 And uh, I remember being at Apple and saying... 641 00:27:51,320 --> 00:27:52,600 -[♪ music concludes] -...you know, "Well, 642 00:27:52,680 --> 00:27:54,120 we should, like, maybe do something like a film. 643 00:27:54,200 --> 00:27:55,560 That'd be a great idea," and everyone, like, 644 00:27:55,640 --> 00:27:57,320 -being puzzled, like, "Why?" -[Ringo chuckles] 645 00:27:57,440 --> 00:27:59,640 [Paul] And in the end, I think John sort of said, 646 00:27:59,720 --> 00:28:01,880 "I get it. He wants a job." 647 00:28:01,960 --> 00:28:03,760 -[♪ "Blackbird" playing] -I said, "Yeah, that's it. 648 00:28:03,880 --> 00:28:05,560 We-- It'd be good if we worked." 649 00:28:06,280 --> 00:28:07,560 [Paul] It looks about right. 650 00:28:07,640 --> 00:28:11,800 ♪ Blackbird singing in the dead of night... ♪ 651 00:28:11,880 --> 00:28:13,320 -Mm. So-- -Well, it is true. We could sit 652 00:28:13,400 --> 00:28:15,120 -in the garden longer than you. -Yeah, I know. 653 00:28:15,200 --> 00:28:17,360 I liked the Beatles. I liked to work with the Beatles. 654 00:28:17,440 --> 00:28:19,640 -I... I've-- Not ashamed of that. -[♪ music concludes] 655 00:28:20,240 --> 00:28:22,480 It's what I love in life, that, all that making music. 656 00:28:22,560 --> 00:28:23,640 [♪ "Blue Moon Of Kentucky" playing] 657 00:28:23,720 --> 00:28:25,360 ♪ Well, I said blue moon of Kentucky ♪ 658 00:28:25,560 --> 00:28:27,280 ♪ Just a-keep on shining ♪ 659 00:28:28,120 --> 00:28:31,560 ♪ Shine on the one that's gone and left me blue ♪ 660 00:28:32,200 --> 00:28:36,280 ♪ Well, blue moon of Kentucky, just a-keep on shining ♪ 661 00:28:37,000 --> 00:28:40,480 ♪ Shine on the one that's gone and left me blue ♪ 662 00:28:41,080 --> 00:28:43,640 ♪ Well, it was on that moonlight night ♪ 663 00:28:43,720 --> 00:28:47,800 ♪ With the stars shining bright, wind blowing high ♪ 664 00:28:47,920 --> 00:28:50,040 ♪ My love said goodbye ♪ 665 00:28:50,160 --> 00:28:53,400 ♪ Blue moon of Kentucky, just a-keep on shining ♪ 666 00:28:54,360 --> 00:28:57,920 ♪ Shine on the one that's gone and left me blue ♪ 667 00:28:58,920 --> 00:29:02,360 ♪ Shine on the one that's gone and left me blue ♪ 668 00:29:03,200 --> 00:29:06,640 ♪ Shine on the one that's gone and left me blue ♪ 669 00:29:08,320 --> 00:29:10,080 ♪ Ah-ha-ha... ♪ 670 00:29:10,160 --> 00:29:11,160 [♪ music concludes] 671 00:29:11,240 --> 00:29:12,440 [♪ guitar strums] 672 00:29:12,520 --> 00:29:13,680 -[Ringo] Next round. -[chair scrapes] 673 00:29:13,760 --> 00:29:15,360 [Paul] That's it. That's your lot. 674 00:29:16,120 --> 00:29:17,600 [♪ "Original Score" playing] 675 00:29:17,680 --> 00:29:18,880 [Paul] I was going round the world, 676 00:29:18,960 --> 00:29:20,560 and a... a journalist would say, 677 00:29:20,640 --> 00:29:22,160 "Is it true the Beatles are gonna get back together?" 678 00:29:22,280 --> 00:29:24,280 Or... [in foreign accent] "Is it true the Beatles are gonna get..." 679 00:29:24,360 --> 00:29:25,680 And, uh, I had to have an answer, 680 00:29:25,760 --> 00:29:26,960 some kind of answer for that. 681 00:29:27,280 --> 00:29:29,280 So the answer became, "Yeah, well, it may be 682 00:29:29,360 --> 00:29:31,960 that the three of us will get in and do some incidental music, 683 00:29:32,040 --> 00:29:34,160 maybe an instrumental, for this, uh, 684 00:29:34,240 --> 00:29:37,480 new Beatles thing we're doing, this Anthology documentary." 685 00:29:37,560 --> 00:29:40,000 So that became what I thought we were gonna do. 686 00:29:40,480 --> 00:29:42,120 [George] Different ideas had been talked about, 687 00:29:42,480 --> 00:29:44,360 that we could do the background music 688 00:29:44,440 --> 00:29:46,800 or even write a new song. 689 00:29:47,160 --> 00:29:50,320 We always had a, you know, a thing between the three of us, 690 00:29:50,400 --> 00:29:51,960 or the four of us at that time, 691 00:29:52,040 --> 00:29:53,880 that if any one of us wasn't in it, 692 00:29:53,960 --> 00:29:56,480 we weren't gonna go out as The Beatles. 693 00:29:57,000 --> 00:29:59,480 If we were to do something, the three of us, 694 00:29:59,560 --> 00:30:01,360 as interesting as it may be, 695 00:30:01,440 --> 00:30:04,720 and as nice as we could sure make it, 696 00:30:04,800 --> 00:30:07,800 to have John in it is the obvious thing. 697 00:30:07,880 --> 00:30:12,440 So, um, in thinking about that, the natural next thought was, 698 00:30:12,520 --> 00:30:15,680 "Well, what if there is a cassette of John's?" 699 00:30:15,760 --> 00:30:17,160 [cassette clicks] 700 00:30:17,240 --> 00:30:18,600 [Ringo] Paul, I believe it was Paul 701 00:30:18,680 --> 00:30:21,320 who asked Yoko, was there anything of John's 702 00:30:21,400 --> 00:30:23,840 that never came out? Maybe we could work with it. 703 00:30:23,920 --> 00:30:25,560 And, uh, she sent us these tapes, 704 00:30:25,640 --> 00:30:27,560 and that's how it came about. 705 00:30:29,720 --> 00:30:33,560 My recollection, now this, again, you'll probably have three 706 00:30:33,640 --> 00:30:35,800 or four different versions of this... 707 00:30:35,880 --> 00:30:38,080 -[♪ "Handle With Care" playing] -...but Jeff Lynne and myself, 708 00:30:38,160 --> 00:30:41,960 we had this band called the Traveling Wilburys. 709 00:30:42,680 --> 00:30:44,680 And we had Roy Orbison in it. 710 00:30:44,760 --> 00:30:47,880 ♪ I'm so tired of being lonely... ♪ 711 00:30:47,960 --> 00:30:53,720 And then Roy Orbison died. Nobody can replace Roy as Roy, 712 00:30:53,920 --> 00:30:56,000 but maybe we should have some other person. 713 00:30:56,080 --> 00:30:57,600 And then we thought of Elvis, 714 00:30:57,680 --> 00:31:01,360 and somebody had talked to the Elvis estate, 715 00:31:01,440 --> 00:31:05,240 and they loved the idea of Elvis being in the Wilburys. 716 00:31:06,320 --> 00:31:10,520 The idea was that we put Elvis onto a multi-track machine, 717 00:31:11,080 --> 00:31:13,360 and then we redo the entire backing, 718 00:31:13,480 --> 00:31:15,920 change the chords, change the tune, whatever, 719 00:31:16,200 --> 00:31:18,040 and even the lyrics, 720 00:31:18,120 --> 00:31:21,960 and we'll then all sing this song, 721 00:31:22,200 --> 00:31:23,480 and then when it comes to the chorus, 722 00:31:23,560 --> 00:31:25,120 we bring up the other fader, 723 00:31:25,200 --> 00:31:28,360 and there's Elvis singing the chorus! 724 00:31:28,440 --> 00:31:30,920 We never did it because, I don't know, at that point... 725 00:31:31,080 --> 00:31:32,400 -[♪ music concludes] -...I thought it seemed 726 00:31:32,480 --> 00:31:33,480 a bit too gimmicky. 727 00:31:33,560 --> 00:31:36,680 But I was talking to Yoko and telling her this idea, 728 00:31:36,760 --> 00:31:39,840 and she said, "Ah, I think I've got a tape of John." 729 00:31:39,920 --> 00:31:41,800 [♪ "Free As A Bird" piano solo playing] 730 00:31:45,360 --> 00:31:47,520 [Paul] I sort of became the messenger, 731 00:31:47,600 --> 00:31:49,600 picked up the tape and talked to Yoko 732 00:31:49,680 --> 00:31:52,160 about what we hoped to do, you know, and asked her 733 00:31:52,240 --> 00:31:53,800 to give us a lot of freedom... 734 00:31:53,880 --> 00:31:55,760 -[♪ music concludes] -...and not impose too many rules on us. 735 00:31:55,840 --> 00:31:58,800 Just let us have a go. If you hate it, we'll nix it. 736 00:31:59,200 --> 00:32:00,520 So that was now the new deal, 737 00:32:00,600 --> 00:32:02,720 and I got much more excited about that, 738 00:32:02,800 --> 00:32:03,960 'cause it was really now like, 739 00:32:04,040 --> 00:32:05,280 "Wow, you know, this is impossible, 740 00:32:05,360 --> 00:32:06,720 John's dead, but we're actually gonna be able 741 00:32:06,800 --> 00:32:08,920 -to play with him again." -[♪ "Free As A Bird" piano solo playing] 742 00:32:09,000 --> 00:32:11,560 [Ringo] The idea that we were gonna do it together 743 00:32:11,640 --> 00:32:14,280 was very, very strange, 'cause we'd been meeting 744 00:32:14,360 --> 00:32:16,760 and chatting, and doing the camera stuff... 745 00:32:16,840 --> 00:32:19,360 -[♪ music concludes] -...but now, we were gonna actually play. 746 00:32:19,960 --> 00:32:22,480 And, you know, that was a huge move 747 00:32:22,560 --> 00:32:24,400 for the three of us, you know, 748 00:32:24,480 --> 00:32:25,960 because there were four in that band... 749 00:32:26,040 --> 00:32:27,520 [♪ "Free As A Bird" piano solo playing] 750 00:32:27,600 --> 00:32:29,560 ...and, you know, in a way, we had to get over that hurdle 751 00:32:29,640 --> 00:32:32,000 that though John's coming out the speaker, 752 00:32:32,080 --> 00:32:36,720 he's not here anymore. So... it was a very heavy time for me. 753 00:32:38,120 --> 00:32:39,720 I'd said to the guys that, 754 00:32:39,800 --> 00:32:43,160 let's pretend that John's just gone on holiday... 755 00:32:43,240 --> 00:32:44,920 -[♪ music concludes] -...and he's rung up, and he's said, 756 00:32:45,000 --> 00:32:46,880 "We've nearly finished the album. You know, look, 757 00:32:46,960 --> 00:32:48,720 here's-- but here's a song I kinda like, 758 00:32:48,840 --> 00:32:49,880 but I haven't finished it. 759 00:32:49,960 --> 00:32:51,800 Will you finish it up for me? I trust you." 760 00:32:51,880 --> 00:32:53,240 That was the kinda key word 761 00:32:53,320 --> 00:32:55,960 in the scenario we were, like, inventing for ourselves. 762 00:32:56,080 --> 00:32:57,800 "I trust you. Just go and do your thing on it. 763 00:32:57,920 --> 00:32:59,040 Don't mess about. Just do it." 764 00:32:59,120 --> 00:33:01,800 So, with that in mind, we went in the studio. 765 00:33:07,960 --> 00:33:10,960 [Ringo] Got it. [chuckles] 766 00:33:12,080 --> 00:33:13,280 -Nice day. -Ah. 767 00:33:13,360 --> 00:33:15,080 Fabulous day, let's go to work. 768 00:33:15,160 --> 00:33:16,360 Nice, quick arrival. 769 00:33:16,440 --> 00:33:18,840 [Paul] We had this cassette of "Free As A Bird". 770 00:33:18,920 --> 00:33:21,240 It was very bad quality, and it was just a mono cassette 771 00:33:21,720 --> 00:33:24,760 with John and the piano locked in on one track, 772 00:33:24,880 --> 00:33:27,040 uh, which nobody would normally deal with. 773 00:33:27,120 --> 00:33:29,040 You know, you just think, "Oh, I can't deal with this." 774 00:33:29,120 --> 00:33:31,000 But the song was so strong 775 00:33:31,080 --> 00:33:33,000 that we overcame those technical difficulties, 776 00:33:33,080 --> 00:33:35,280 or rather Jeff Lynne did, who was producing. 777 00:33:35,360 --> 00:33:37,200 -[indistinct chatter] -[Paul] How many producers 778 00:33:37,280 --> 00:33:38,960 did it take to change a light bulb? 779 00:33:39,040 --> 00:33:40,600 -[♪ guitar strumming] -Uh, 18? 780 00:33:40,680 --> 00:33:41,920 I don't know, what do you think? 781 00:33:42,000 --> 00:33:44,240 [laughs] I don't know. What do you think? 782 00:33:44,560 --> 00:33:46,360 [Jeff Lynne] George suggested that, uh, 783 00:33:46,440 --> 00:33:48,840 maybe I should work on these new songs 784 00:33:48,920 --> 00:33:50,440 -for the Anthology. -[indistinct chatter] 785 00:33:50,520 --> 00:33:52,440 [Jeff Lynne] And I was absolutely thrilled. 786 00:33:52,920 --> 00:33:55,760 Technically, it was virtually impossible to do it. 787 00:33:55,840 --> 00:33:57,960 I had to spend a couple of weeks 788 00:33:58,040 --> 00:33:59,920 just trying to clean them up, digitally. 789 00:34:00,000 --> 00:34:02,360 It was very difficult because when somebody does 790 00:34:02,440 --> 00:34:04,360 a little performance on a piano and just singing, 791 00:34:04,440 --> 00:34:05,640 playing a new song they've just written, 792 00:34:05,720 --> 00:34:07,960 for instance, it's virtually, 793 00:34:08,040 --> 00:34:10,640 um, impossible to have it perfectly in time. 794 00:34:10,800 --> 00:34:16,840 -[♪ "Free As A Bird" playing] -[♪ piano playing] 795 00:34:18,080 --> 00:34:20,680 [John over cassette] ♪ Free as a bird ♪ 796 00:34:20,800 --> 00:34:27,760 -[♪ piano playing] -[♪ guitar strumming] 797 00:34:28,240 --> 00:34:31,600 It took hours and hours of tidying it up 798 00:34:31,800 --> 00:34:35,400 because it was on a cassette with no time at all, you know, 799 00:34:35,480 --> 00:34:37,200 'cause they stretch, and that, 800 00:34:37,280 --> 00:34:40,360 and a lot of, uh, hiss and... and noise 801 00:34:40,440 --> 00:34:42,560 that, uh, Jeff had to really work hard. 802 00:34:42,640 --> 00:34:43,960 He did a brilliant job. 803 00:34:44,040 --> 00:34:47,440 Then we could put it on a, uh, you know, on the 24-track 804 00:34:47,520 --> 00:34:49,800 with a click track to keep it real, 805 00:34:49,880 --> 00:34:51,800 so that we could play with it, 'cause it wasn't like 806 00:34:51,880 --> 00:34:53,400 the four of us are in there doing it. 807 00:34:53,480 --> 00:34:56,240 -[♪ "Free As A Bird" playing] -[George] ♪ Free... ♪ 808 00:34:56,320 --> 00:34:57,960 [Paul] Whoo! 809 00:34:59,080 --> 00:35:00,920 ♪ As a bird ♪ 810 00:35:03,720 --> 00:35:06,400 It was emotional listening to the tape for the first time. 811 00:35:06,480 --> 00:35:08,320 And... And obviously, you had to study it a lot... 812 00:35:08,400 --> 00:35:09,920 -[♪ music concludes] -...to know what to do with it. 813 00:35:10,000 --> 00:35:11,920 And that was emotional. I said to Ringo, I warned him, 814 00:35:12,000 --> 00:35:13,640 I said, "You've gotta have your hanky ready, you know, 815 00:35:13,720 --> 00:35:15,080 when you listen to this." 816 00:35:15,160 --> 00:35:17,120 'Cause it's quite emotional hearing our old mate 817 00:35:17,200 --> 00:35:18,960 sing this little song, you know? 818 00:35:19,080 --> 00:35:20,600 [♪ "Free As A Bird" playing] 819 00:35:21,280 --> 00:35:25,480 [John over cassette] ♪ Free ♪ 820 00:35:27,520 --> 00:35:29,760 [Ringo] Just hearing the tape that was sent 821 00:35:29,840 --> 00:35:31,360 -was pretty emotional. -[both sing indistinctly] 822 00:35:31,640 --> 00:35:33,160 [Ringo] And then we got to the studio, 823 00:35:33,280 --> 00:35:35,880 and it was... it was difficult for a while. 824 00:35:36,080 --> 00:35:39,200 You know, "He's not here. We're all here. Where's John?" 825 00:35:40,040 --> 00:35:41,680 But we had to get over that. 826 00:35:41,760 --> 00:35:44,480 We got over that by feeling that he'd gone for lunch, 827 00:35:44,920 --> 00:35:46,280 or he's gone for a cup of tea. 828 00:35:46,360 --> 00:35:47,360 -[Ringo] John? -[indistinct chatter] 829 00:35:47,440 --> 00:35:48,960 [Ringo] Do you wanna put the kettle on? 830 00:35:49,040 --> 00:35:50,360 It's like there's an empty 831 00:35:50,440 --> 00:35:52,240 -chair in the place, you know... -There's a space, yeah. 832 00:35:53,080 --> 00:35:54,440 -...where he used to be. -[indistinct chatter] 833 00:35:54,520 --> 00:35:56,720 I must be one of the people who knew John the best 834 00:35:56,800 --> 00:35:58,800 out of his life, you know. I must be in the top three. 835 00:35:59,000 --> 00:36:01,880 And I knew how he liked to work. I knew what excited him. 836 00:36:01,960 --> 00:36:03,840 I knew what excited him about music, 837 00:36:03,920 --> 00:36:05,440 certainly for the period I worked with him, 838 00:36:05,520 --> 00:36:07,840 and he would have been dead chuffed with this. 839 00:36:07,920 --> 00:36:10,560 [John over cassette] ♪ Du-dn-du-dn-du ♪ 840 00:36:10,640 --> 00:36:12,880 "Free As A Bird" was, uh, half a song, 841 00:36:12,960 --> 00:36:15,160 you know, the... the tape we got from Yoko. 842 00:36:15,240 --> 00:36:17,240 Jeff and the three of us, 843 00:36:17,480 --> 00:36:20,560 we did like a basic track with all these gaps in it. 844 00:36:21,480 --> 00:36:24,840 And then we had to fill in the song. 845 00:36:24,920 --> 00:36:27,040 So, it... it's really written by everybody. 846 00:36:27,120 --> 00:36:28,680 [♪ music rises] 847 00:36:35,760 --> 00:36:36,800 [♪ music concludes] 848 00:36:36,880 --> 00:36:41,160 John never completed the middle. If you hear the original demo, 849 00:36:41,240 --> 00:36:44,520 John plays much different chord changes in it as well. 850 00:36:45,040 --> 00:36:46,840 In normal circumstances, 851 00:36:46,960 --> 00:36:48,560 if somebody comes in the studio and says, 852 00:36:48,640 --> 00:36:52,200 "I've got this song. It's not quite finished yet. 853 00:36:52,520 --> 00:36:54,560 What do you think?" and then you start playing it... 854 00:36:54,640 --> 00:36:56,800 -[♪ "Free As A Bird" playing] -...well, historically, what we'd do, 855 00:36:56,880 --> 00:36:59,920 we'd say, "Well, hang on, I don't-- I'm not sure about that chord there. 856 00:37:00,000 --> 00:37:02,080 Why don't we try this chord here?" 857 00:37:02,160 --> 00:37:04,920 And so we took the liberty of doing that. 858 00:37:05,000 --> 00:37:06,840 And then as we finished the lyrics 859 00:37:06,920 --> 00:37:11,000 and, um, you know, we actually produced that song 860 00:37:11,080 --> 00:37:12,440 and put John into it. 861 00:37:12,760 --> 00:37:16,680 -♪ Free as a bird ♪ -♪ Free as a... free ♪ 862 00:37:16,760 --> 00:37:18,120 It's cool if we end up doing that. 863 00:37:19,080 --> 00:37:25,160 ♪ Free as a little mockingbird ♪ 864 00:37:25,240 --> 00:37:27,200 -[whistles] -[indistinct chatter] 865 00:37:27,280 --> 00:37:28,880 -[♪ music concludes] -[Paul] Most days I remember John, 866 00:37:28,960 --> 00:37:30,080 or have some thoughts of John, 867 00:37:30,160 --> 00:37:32,160 'cause he was such a big part of my life. 868 00:37:32,240 --> 00:37:34,720 And I'm so sort of proud to have known him 869 00:37:34,800 --> 00:37:36,880 and to have been a big part of his life, you know, 870 00:37:36,960 --> 00:37:40,760 so most days I will think of him in one way or another. 871 00:37:40,920 --> 00:37:42,880 But obviously, doing the Anthology, 872 00:37:42,960 --> 00:37:43,960 making the record, 873 00:37:44,040 --> 00:37:45,640 he was actually in the headphones 874 00:37:45,720 --> 00:37:47,720 while I was singing. Now it's been a long time 875 00:37:48,040 --> 00:37:49,920 since I've actually done that, you know. 876 00:37:50,240 --> 00:37:52,520 -[♪ "Free As A Bird" playing] -You know, it was like the old days. 877 00:37:52,600 --> 00:37:58,640 [both] ♪ I'm ♪ 878 00:37:59,280 --> 00:38:02,800 ♪ Free ♪ 879 00:38:04,480 --> 00:38:05,600 Keep it going! 880 00:38:08,800 --> 00:38:11,400 ♪ Like a little birdie ♪ 881 00:38:11,480 --> 00:38:13,400 -Have you tracked that one? -[♪ music rises] 882 00:38:13,760 --> 00:38:17,320 ♪ Free ♪ 883 00:38:18,760 --> 00:38:22,240 ♪ As a bird ♪ 884 00:38:24,440 --> 00:38:29,840 ♪ It's the next best thing to be ♪ 885 00:38:31,080 --> 00:38:36,280 ♪ Free as a bird ♪ 886 00:38:39,320 --> 00:38:42,520 It's an amazing Beatle track. And for me, being away from it 887 00:38:42,600 --> 00:38:43,800 for so long... 888 00:38:44,640 --> 00:38:46,440 I listened to it, and I thought, 889 00:38:46,520 --> 00:38:48,200 "It sounds just like them." 890 00:38:49,000 --> 00:38:51,640 You know, I'd taken myself away from it for so long that it, 891 00:38:52,040 --> 00:38:54,760 you know, it was like listening to it like an outsider. 892 00:38:55,160 --> 00:38:57,320 And it sounds just like them. It's brilliant. 893 00:38:57,720 --> 00:39:00,920 [George] I think it's the four in conjunction with each other, 894 00:39:01,040 --> 00:39:04,160 like a pot of soup. It kind of makes it 895 00:39:04,240 --> 00:39:06,000 with that mix of the four people. 896 00:39:06,760 --> 00:39:09,720 Take one of the ingredients out, it can be very similar, 897 00:39:09,800 --> 00:39:11,920 but it just doesn't quite taste the same. 898 00:39:12,000 --> 00:39:17,840 ♪ Free as a bird ♪ 899 00:39:17,920 --> 00:39:20,400 [Paul] The first choice was "Free As A Bird"... 900 00:39:20,640 --> 00:39:23,440 -[♪ music concludes] -...and we did that in February '94. 901 00:39:23,520 --> 00:39:25,800 And then kinda really didn't do much, 902 00:39:25,880 --> 00:39:29,280 except put together the Anthology, till February '95. 903 00:39:29,400 --> 00:39:30,480 [Ringo] Okay. 904 00:39:31,360 --> 00:39:33,720 [Paul] We went back to my studio with "Real Love". 905 00:39:33,880 --> 00:39:35,240 Yeah, I missed it. 906 00:39:36,400 --> 00:39:38,000 -[John Hammel] Very talented, Paul. -[Paul] ...and be 907 00:39:38,080 --> 00:39:39,240 fairly ready for action now. 908 00:39:39,320 --> 00:39:41,240 [tuning guitars] 909 00:39:41,360 --> 00:39:42,720 Give us an E, John. 910 00:39:47,640 --> 00:39:51,000 -[♪ "Real Love" playing] -♪ All the little girls and boys ♪ 911 00:39:53,040 --> 00:39:56,320 ♪ Playing with their little toys ♪ 912 00:39:58,560 --> 00:40:01,880 ♪ Seems like all I really was doing ♪ 913 00:40:03,000 --> 00:40:09,080 ♪ Was waiting for you ♪ 914 00:40:09,560 --> 00:40:13,720 ♪ No need to be alone... ♪ 915 00:40:13,840 --> 00:40:15,600 Do you know the-- what solo I used to love... 916 00:40:15,680 --> 00:40:17,280 -[♪ music concludes] -...the, uh, harmonies on? 917 00:40:17,360 --> 00:40:18,400 On "Come Together". 918 00:40:19,200 --> 00:40:20,600 -[vocalizes] That sorta-- -Oh, yeah. 919 00:40:20,680 --> 00:40:22,480 -It's a little... little bit-- -That kind of sounded like, 920 00:40:22,560 --> 00:40:23,840 -yeah, it could be a bit... -Little bit... 921 00:40:23,920 --> 00:40:25,160 -...like that. -...that range, you know. 922 00:40:25,240 --> 00:40:26,800 [♪ "Real Love" guitar harmonies] 923 00:40:26,880 --> 00:40:29,040 [whistles] Except high up an octave. 924 00:40:29,520 --> 00:40:33,280 But... But whatever that part could be played on, like, 925 00:40:33,360 --> 00:40:37,240 another thing, going up, uh, while these... 926 00:40:37,320 --> 00:40:39,720 [♪ playing melody] 927 00:40:39,800 --> 00:40:41,520 ...you know, just keep going. 928 00:40:44,840 --> 00:40:47,760 [vocalizes] 929 00:40:51,480 --> 00:40:54,600 And then there's those "Real love" harmonies. 930 00:40:54,680 --> 00:40:56,320 -[♪ music concludes] -They get together, and they're... 931 00:40:56,400 --> 00:40:57,640 doing their banter and... 932 00:40:57,760 --> 00:40:59,400 you know, bouncing off each other. 933 00:40:59,480 --> 00:41:02,360 ♪ Just like little girls and boys ♪ 934 00:41:03,280 --> 00:41:04,440 It's great, that. 935 00:41:04,520 --> 00:41:06,600 And they strike up singing, and it's The Beatles. 936 00:41:06,680 --> 00:41:08,280 There it is. That's that sound. 937 00:41:08,360 --> 00:41:10,640 -[♪ "Paperback Writer" playing] -♪ Paperback writer ♪ 938 00:41:10,760 --> 00:41:13,120 -[harmonizing] -♪ Paperback writer... ♪ 939 00:41:13,200 --> 00:41:15,000 There is a certain harmony. 940 00:41:15,080 --> 00:41:18,280 -[♪ music concludes] -We do lock in together very easily. 941 00:41:18,840 --> 00:41:24,520 ♪ Lo-o-o-ve ♪ 942 00:41:25,640 --> 00:41:28,080 You know, it kind of sounds like The Beatles... 943 00:41:28,160 --> 00:41:31,160 [chuckles] ...you know, without much effort. 944 00:41:31,240 --> 00:41:35,120 [over headphones] ♪ Lo-o-o-ve ♪ 945 00:41:35,200 --> 00:41:36,800 When George and I were doing the harmonies, 946 00:41:36,880 --> 00:41:38,080 and that was what Ringo said 947 00:41:38,160 --> 00:41:39,520 when we got back in the controls, he said, 948 00:41:39,600 --> 00:41:41,720 "It just sounds just like The Beatles," you know. 949 00:41:42,160 --> 00:41:43,640 And there was a kind of crazy moment 950 00:41:43,720 --> 00:41:45,000 thinking, "Oh, yeah," 'cause, you know, 951 00:41:45,080 --> 00:41:48,160 having not done it for so long, you become an ex-Beatle. 952 00:41:48,720 --> 00:41:50,120 But, of course, getting back in the band 953 00:41:50,200 --> 00:41:53,080 and working on this Anthology, you're in the band again. 954 00:41:53,160 --> 00:41:54,920 -There's no two ways about it. -[indistinct chatter] 955 00:41:55,000 --> 00:41:56,360 -[vocalizes] -Show 'em the chords, Jeff. 956 00:41:56,440 --> 00:41:57,480 Let's get this ball rolling. 957 00:41:57,560 --> 00:41:58,640 ♪ Wah-wah-wah-wah ♪ 958 00:41:58,760 --> 00:42:00,920 Paul, do you wanna go down on the... [speaks indistinctly]. 959 00:42:01,000 --> 00:42:03,520 [Paul] One, two, three. 960 00:42:04,320 --> 00:42:05,880 [♪ "Real Love" playing] 961 00:42:15,520 --> 00:42:17,640 ♪ All my little plans and schemes ♪ 962 00:42:17,720 --> 00:42:19,080 Four! 963 00:42:19,440 --> 00:42:20,440 [♪ music stops abruptly] 964 00:42:20,520 --> 00:42:22,080 [Jeff Lynne] Okay. I think that worked. 965 00:42:22,320 --> 00:42:24,320 Now, you want that with the whole... 966 00:42:24,400 --> 00:42:26,800 [drums playing] 967 00:42:26,880 --> 00:42:27,880 ...or do we have that? 968 00:42:28,360 --> 00:42:31,240 It's all right. The tone of my voice was a little-- 969 00:42:31,360 --> 00:42:32,960 It doesn't match John's, does it? 970 00:42:33,040 --> 00:42:35,920 It's too sort of-- [vocalizes] 971 00:42:37,520 --> 00:42:40,800 Yeah. But I can also try and get into his style 972 00:42:40,880 --> 00:42:44,280 -a little bit more, you know. -[♪ "Real Love" continues] 973 00:42:44,560 --> 00:42:48,720 [♪ plays solo] 974 00:43:00,640 --> 00:43:02,840 Paul, maybe just do the first one again as well, would you? 975 00:43:02,920 --> 00:43:06,680 ♪ No need to be alone ♪ 976 00:43:09,480 --> 00:43:11,280 ♪ It's real love ♪ 977 00:43:11,840 --> 00:43:14,520 ♪ Yes, it's real ♪ 978 00:43:14,880 --> 00:43:17,280 ♪ It's real love ♪ 979 00:43:17,600 --> 00:43:19,880 ♪ It's real ♪ 980 00:43:19,960 --> 00:43:22,760 ♪ Yes, it's real love ♪ 981 00:43:23,160 --> 00:43:25,040 ♪ It's real ♪ 982 00:43:25,840 --> 00:43:28,200 ♪ It's real love ♪ 983 00:43:28,520 --> 00:43:30,320 ♪ It's real ♪ 984 00:43:30,840 --> 00:43:33,680 ♪ Yes, it's real love ♪ 985 00:43:34,120 --> 00:43:36,080 ♪ It's real ♪ 986 00:43:36,760 --> 00:43:39,080 ♪ It's real love ♪ 987 00:43:39,520 --> 00:43:41,640 ♪ It's real ♪ 988 00:43:41,720 --> 00:43:44,640 ♪ Yes, it's real love ♪ 989 00:43:44,720 --> 00:43:47,160 -♪ It's real ♪ -[♪ music fades] 990 00:43:47,240 --> 00:43:48,760 -[indistinct chatter] -I thought that was great! 991 00:43:48,920 --> 00:43:50,640 -Have a listen. -Yeah! 992 00:43:50,720 --> 00:43:52,200 [♪ "Original Score" playing] 993 00:43:52,280 --> 00:43:55,400 ♪ Oh, yeah, yeah ♪ [imitates gunshot] 994 00:43:55,480 --> 00:43:57,120 Ahr, it sounds just like 'em. 995 00:43:57,200 --> 00:43:59,280 Is it sounding like them fucking Beatles again? 996 00:43:59,360 --> 00:44:01,360 [chuckles] It does, aye. 997 00:44:01,440 --> 00:44:03,400 Now, what would be good is if we had a third song, 998 00:44:03,480 --> 00:44:05,040 -which we actually have. -[♪ "Now And Then" playing] 999 00:44:05,160 --> 00:44:09,200 [John over cassette] ♪ And if I make it through ♪ 1000 00:44:09,880 --> 00:44:12,280 ♪ It's all because of you ♪ 1001 00:44:12,440 --> 00:44:13,440 -Yeah? -[Jeff Lynne] Yeah. 1002 00:44:13,600 --> 00:44:15,600 That was another thought, you know, is to come in with the drums-- 1003 00:44:15,720 --> 00:44:17,320 [Jeff Lynne] The other thing is about John's vocal, 1004 00:44:17,400 --> 00:44:18,880 -if we can cover it over enough-- -Yes. 1005 00:44:18,960 --> 00:44:21,160 There was one we kind of had our eye on called, 1006 00:44:21,240 --> 00:44:23,280 -uh, "Now And Then". -[♪ "Now And Then" playing] 1007 00:44:24,120 --> 00:44:27,200 [John over cassette] ♪ I know it's true... ♪ 1008 00:44:27,320 --> 00:44:29,040 -[indistinct chatter] -[Jeff Lynne] Just a straight E? 1009 00:44:31,200 --> 00:44:32,600 Would've needed a lot of rewriting. 1010 00:44:32,680 --> 00:44:35,040 People would've had to be very patient with us. 1011 00:44:35,120 --> 00:44:36,440 And Yoko, for instance, 1012 00:44:36,520 --> 00:44:38,480 would've had to allow us to chop it all up a bit. 1013 00:44:38,560 --> 00:44:40,960 Yeah. You have a D chord after that. 1014 00:44:41,040 --> 00:44:42,920 Instead of going back for the rest of the chorus, 1015 00:44:43,000 --> 00:44:44,440 we come out into the middle. 1016 00:44:45,080 --> 00:44:47,040 But it needs so much work that we're a bit... 1017 00:44:47,200 --> 00:44:48,760 -terrified to get round to it. -[♪ music concludes] 1018 00:44:48,840 --> 00:44:50,200 -A moving blockage? -[yawns] 1019 00:44:50,280 --> 00:44:52,360 Oh, when are we ever gonna get to sleep? 1020 00:44:52,840 --> 00:44:54,120 [Paul] Now, there's a good question, George. 1021 00:44:54,200 --> 00:44:55,880 [George] No rest for the wicked. 1022 00:44:55,960 --> 00:44:57,440 Come on then. Back it up a bit. 1023 00:44:57,520 --> 00:44:59,440 And then we'll hear it, but with everything 1024 00:44:59,520 --> 00:45:02,480 that's on that tape in at the same time. 1025 00:45:02,560 --> 00:45:04,360 It was a time problem, 1026 00:45:04,440 --> 00:45:05,760 'cause we were gonna do three at first, 1027 00:45:05,840 --> 00:45:08,000 but then it just didn't work out for everybody 1028 00:45:08,080 --> 00:45:10,760 to be in the same place for so long a period. 1029 00:45:10,840 --> 00:45:13,160 And so we decided to finish off the one 1030 00:45:13,240 --> 00:45:15,720 -that was more completed. -[indistinct chatter] 1031 00:45:15,800 --> 00:45:18,320 Yeah, and we're just gonna, like, finish that one. 1032 00:45:18,600 --> 00:45:20,760 -[♪ "Now And Then" playing] -Work on that one, and, you know, then-- 1033 00:45:20,840 --> 00:45:22,160 [indistinct chatter] 1034 00:45:22,240 --> 00:45:23,520 Get that one done 1035 00:45:23,600 --> 00:45:26,800 and sort of go back to the other one next time. 1036 00:45:27,240 --> 00:45:30,240 [♪ music continues] 1037 00:45:30,320 --> 00:45:34,280 [vocalizes] Possibly. 1038 00:45:35,560 --> 00:45:37,440 -Third verse. -[♪ "Original Score" playing] 1039 00:45:37,520 --> 00:45:39,560 With anyone else, this would definitely be the end. 1040 00:45:39,640 --> 00:45:40,880 [birds chirping] 1041 00:45:41,640 --> 00:45:43,800 But... [chuckling] ...with the Beatles, 1042 00:45:43,880 --> 00:45:46,280 you... you've gotta watch out, you know. They-- It's-- 1043 00:45:46,360 --> 00:45:49,120 They could do it. There's always a surprise 1044 00:45:49,240 --> 00:45:53,080 somewhere along the line. It might not go away, that one. 1045 00:45:57,440 --> 00:45:58,640 It's a very special thing 1046 00:45:58,720 --> 00:46:01,000 when you find someone you can talk to, 1047 00:46:01,400 --> 00:46:02,920 it's a special thing. When you find someone 1048 00:46:03,000 --> 00:46:05,920 you can play music with, it's really something, you know? 1049 00:46:06,000 --> 00:46:08,800 I think most musicians search their whole lives 1050 00:46:08,960 --> 00:46:11,560 looking for the perfect drummer, the perfect bass player, 1051 00:46:11,640 --> 00:46:13,520 the perfect guitarist, you know, the perfect vocalist 1052 00:46:13,600 --> 00:46:15,160 to sing along with, to match with. 1053 00:46:15,920 --> 00:46:17,960 So I felt kind of privileged. 1054 00:46:19,480 --> 00:46:21,360 -Yeah, okay. -[Paul] That's the real speed, isn't it? 1055 00:46:21,440 --> 00:46:22,720 -Yeah. -[Paul plays piano trill] 1056 00:46:22,800 --> 00:46:28,080 ♪ It's the real speed, the real speed ♪ 1057 00:46:28,160 --> 00:46:32,040 [♪ "Real Love" banjo and piano playing] 1058 00:46:32,120 --> 00:46:36,400 [Paul] This is certainly a culmination of something. 1059 00:46:36,480 --> 00:46:40,000 I mean, we've put together our story. 1060 00:46:40,080 --> 00:46:42,880 I don't know whether that means it's an end. I wouldn't think 1061 00:46:43,000 --> 00:46:45,960 there are too many John tracks left to play with, 1062 00:46:46,040 --> 00:46:48,960 so that's possibly an end to that little thread. 1063 00:46:49,520 --> 00:46:51,280 I don't really think the three of us are interested 1064 00:46:51,360 --> 00:46:53,720 in going out playing together, 1065 00:46:53,800 --> 00:46:56,840 because there'd be a hole on stage, um, 1066 00:46:56,920 --> 00:46:59,000 -that you can't fill. -Seeing as we're not getting 1067 00:46:59,080 --> 00:47:00,520 -back together-- -Oh, Paul and I are gonna do 1068 00:47:00,600 --> 00:47:02,680 some stadiums next year... 1069 00:47:03,760 --> 00:47:05,240 -Mud wrestling. -...together. 1070 00:47:05,320 --> 00:47:06,520 [laughter] 1071 00:47:06,600 --> 00:47:08,560 Mud wrestling. I think we could pull it off, too. 1072 00:47:09,720 --> 00:47:11,040 I'll be the ref. 1073 00:47:12,800 --> 00:47:15,520 We'll probably have the fella who wrote "The Green Door", 1074 00:47:16,200 --> 00:47:18,280 you know, turning up, saying, "Hoi!" 1075 00:47:18,400 --> 00:47:19,920 -[♪ music concludes] -[Paul] Yeah, "That's my riff." 1076 00:47:20,080 --> 00:47:22,000 -[♪ "Original Score" playing] -There's three Beatles still around 1077 00:47:22,360 --> 00:47:24,920 but, you know, the band isn't here anymore. 1078 00:47:26,080 --> 00:47:28,840 We could go out as, uh, Paul, George and Ringo, 1079 00:47:29,560 --> 00:47:30,960 but not as The Beatles. 1080 00:47:31,040 --> 00:47:34,400 -Here are The Beatles! -[audience cheering, applauding] 1081 00:47:45,440 --> 00:47:48,680 The Beatles are just-- you know, will go on and on, 1082 00:47:49,400 --> 00:47:52,400 on those records and films and videos and books, 1083 00:47:52,480 --> 00:47:55,000 and in people's memories or minds. 1084 00:47:55,080 --> 00:47:58,280 The Beatles has just become its own thing now, 1085 00:47:58,840 --> 00:48:02,880 and The Beatles, I think, exist without us. 1086 00:48:05,600 --> 00:48:09,080 "Play the game 'Existence' till the end of the beginning." 1087 00:48:10,400 --> 00:48:11,880 "Tomorrow Never Knows". 1088 00:48:12,360 --> 00:48:14,440 -[♪ "Ain't She Sweet" playing] -♪ Well, ain't she sweet? ♪ 1089 00:48:15,520 --> 00:48:17,040 [Paul vocalizes] 1090 00:48:17,800 --> 00:48:22,800 ♪ I ask you very confidentially, ain't she sweet? ♪ 1091 00:48:23,600 --> 00:48:27,640 ♪ Cast an eye in her direction ♪ 1092 00:48:27,720 --> 00:48:29,760 -♪ Oh me, oh my ♪ -♪ Oh me, oh my ♪ 1093 00:48:30,320 --> 00:48:32,800 ♪ Ain't that perfection? ♪ 1094 00:48:32,880 --> 00:48:34,160 ♪ Voh-dee-oh-doh ♪ 1095 00:48:34,240 --> 00:48:38,680 ♪ I repeat, don't you think she's kinda sweet? ♪ 1096 00:48:38,800 --> 00:48:42,560 -♪ Neat ♪ -♪ Now, I ask you very confidentially ♪ 1097 00:48:42,640 --> 00:48:44,240 ♪ Ain't she sweet? ♪ 1098 00:48:45,360 --> 00:48:47,200 ♪ Ain't she sweet? ♪ 1099 00:48:47,840 --> 00:48:50,360 ♪ Ain't she... ♪ 1100 00:48:50,480 --> 00:48:53,400 -[♪ ukelele riff plays] -♪ ...sweet? ♪ 1101 00:48:53,560 --> 00:48:55,160 -[Ringo] Let's go. -[♪ music concludes] 1102 00:48:55,560 --> 00:48:57,280 -[Paul] Mm. -Well, this has really been a... 1103 00:48:57,360 --> 00:48:59,520 a really nice day for me, chaps, but I'm afraid I've gotta leave now. 1104 00:48:59,600 --> 00:49:01,640 It's been a pleasure for me too, Rich, yeah. Have you? 1105 00:49:01,720 --> 00:49:03,800 Cor! We won't have to see you for the next 40 years. 1106 00:49:03,880 --> 00:49:05,000 -[laughs] -Yeah. 1107 00:49:05,080 --> 00:49:07,360 [Paul] Well, you could end on this note then, and uh-- 1108 00:49:07,440 --> 00:49:09,880 No, it's been a very nice day. Thanks for having us, George. 1109 00:49:10,040 --> 00:49:11,080 Thank you. 1110 00:49:11,840 --> 00:49:13,760 It's been really beautiful and moving for me, you know. 1111 00:49:13,880 --> 00:49:15,840 I like hanging out with you two guys. 1112 00:49:15,920 --> 00:49:17,400 [♪ music concludes] 1113 00:49:17,480 --> 00:49:20,000 [♪ "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" playing] 1114 00:49:20,200 --> 00:49:22,120 -♪ One, two, three, four ♪ -♪ Bye! ♪ 1115 00:49:37,120 --> 00:49:38,120 ♪ Wooh! ♪ 1116 00:49:38,200 --> 00:49:41,600 ♪ We're Sergeant Pepper's Lonely Hearts Club Band ♪ 1117 00:49:42,080 --> 00:49:43,760 ♪ We hope you have enjoyed ♪ 1118 00:49:43,840 --> 00:49:44,960 ♪ The show ♪ 1119 00:49:46,280 --> 00:49:48,560 ♪ Sergeant Pepper's Lonely Hearts ♪ 1120 00:49:48,640 --> 00:49:49,840 ♪ Club Band ♪ 1121 00:49:50,160 --> 00:49:51,880 ♪ We're sorry but it's time ♪ 1122 00:49:51,960 --> 00:49:53,040 ♪ To go ♪ 1123 00:49:54,240 --> 00:49:56,200 ♪ Sergeant Pepper's Lonely ♪ 1124 00:49:56,280 --> 00:49:58,200 ♪ Sergeant Pepper's Lonely ♪ 1125 00:49:58,320 --> 00:50:00,200 ♪ Sergeant Pepper's Lonely ♪ 1126 00:50:00,280 --> 00:50:02,240 ♪ Sergeant Pepper's Lonely ♪ 1127 00:50:02,320 --> 00:50:04,760 ♪ Sergeant Pepper's Lonely Hearts ♪ 1128 00:50:04,840 --> 00:50:05,960 ♪ Club Band ♪ 1129 00:50:06,280 --> 00:50:07,520 ♪ We'd like to thank you ♪ 1130 00:50:07,600 --> 00:50:09,120 ♪ Once again ♪ 1131 00:50:10,560 --> 00:50:12,560 ♪ Sergeant Pepper's one and only ♪ 1132 00:50:12,640 --> 00:50:14,480 ♪ Lonely Hearts Club Band ♪ 1133 00:50:14,560 --> 00:50:16,240 ♪ It's getting very near ♪ 1134 00:50:16,360 --> 00:50:17,400 ♪ The end ♪ 1135 00:50:18,520 --> 00:50:20,520 ♪ Sergeant Pepper's Lonely ♪ 1136 00:50:20,600 --> 00:50:22,600 ♪ Sergeant Pepper's Lonely ♪ 1137 00:50:22,720 --> 00:50:26,400 ♪ Sergeant Pepper's Lonely Hearts ♪ 1138 00:50:26,920 --> 00:50:30,760 ♪ Club Band ♪ 1139 00:50:31,880 --> 00:50:33,200 ♪ Whoo! ♪