1 00:00:01,022 --> 00:00:04,984 ♪♪ 2 00:00:08,840 --> 00:00:12,340 Brought to you by Sailor420 !!! Hope you enjoy the film !!! 3 00:00:17,330 --> 00:00:19,666 PAUL McCARTNEY: You know, I meet a lot of young groups and I say, 4 00:00:19,666 --> 00:00:22,335 "I can't read music or write it." 5 00:00:22,335 --> 00:00:24,212 They go, "What?" (Rick chuckles) 6 00:00:24,212 --> 00:00:27,882 And it's like... "Well, that doesn't work. 7 00:00:28,299 --> 00:00:31,761 Well, if you've done this, how could you do it without‐‐" 8 00:00:31,761 --> 00:00:34,889 But it means that it's here. It's not on a bit of paper. 9 00:00:35,265 --> 00:00:38,977 ♪♪ playing upbeat music ♪♪ 10 00:00:38,977 --> 00:00:43,022 ♪♪ 11 00:00:54,033 --> 00:00:55,910 I tell kids who want to learn the piano, 12 00:00:55,910 --> 00:00:58,454 I say, "Okay, here's you go. Start with middle C." 13 00:00:58,454 --> 00:00:59,831 (plays note) We all know that. 14 00:00:59,831 --> 00:01:01,541 It's the first thing in a piano lesson. 15 00:01:01,541 --> 00:01:04,252 And then think about like the Eddie Cochran thing. 16 00:01:04,252 --> 00:01:08,715 ♪♪ playing music notes ♪♪ 17 00:01:08,715 --> 00:01:12,010 I say, "Well, that's... that's a chord, if you play those together." 18 00:01:12,010 --> 00:01:12,927 ♪♪ plays chord on piano ♪♪ 19 00:01:12,927 --> 00:01:16,180 "And you just got that, remember this and that. 20 00:01:16,180 --> 00:01:20,226 So you do that. One space. Finger. One space. Finger." 21 00:01:20,602 --> 00:01:24,397 So there you've got the chord. I say, you know, "We started there." 22 00:01:24,397 --> 00:01:25,231 RICK RUBIN: Mm‐hmm. 23 00:01:25,231 --> 00:01:29,777 And so, you could kind of write a song... with that. 24 00:01:29,777 --> 00:01:31,946 Yeah. Yeah. But if you just move this up one, 25 00:01:31,946 --> 00:01:33,531 ♪♪ plays higher music chord ♪♪ 26 00:01:33,531 --> 00:01:35,074 ...it's the same shape. Yeah. 27 00:01:35,074 --> 00:01:36,409 You've got another chord. Yeah. 28 00:01:36,409 --> 00:01:37,577 Now you've got two chords. 29 00:01:37,577 --> 00:01:39,329 ♪♪ playing musical chords ♪♪ 30 00:01:39,329 --> 00:01:41,456 Move it up again, you got three chords. 31 00:01:41,456 --> 00:01:42,040 RICK: Yeah. 32 00:01:42,040 --> 00:01:43,791 PAUL: And move it up again, you got four chords. 33 00:01:43,791 --> 00:01:45,919 RICK: Yeah. Yeah. PAUL: And then again, you got five. 34 00:01:45,919 --> 00:01:47,337 And then now you've got six. 35 00:01:47,337 --> 00:01:49,047 Well, you don't need more than that. Yeah. 36 00:01:49,047 --> 00:01:51,883 So you can now put permutations of that... 37 00:01:51,883 --> 00:01:54,135 Yeah. and you get songs, you know, like‐‐ 38 00:01:54,135 --> 00:01:59,307 ♪♪ light piano music playing ♪♪ 39 00:01:59,307 --> 00:01:59,974 RICK: Yeah. 40 00:01:59,974 --> 00:02:04,395 ♪♪ music continues ♪♪ 41 00:02:04,395 --> 00:02:09,067 ♪♪ 42 00:02:09,067 --> 00:02:11,319 ♪♪ Oh oh oh ♪♪ 43 00:02:11,319 --> 00:02:13,071 ♪♪ Baby baby yeah ♪♪ 44 00:02:13,071 --> 00:02:15,281 ♪♪ 45 00:02:15,281 --> 00:02:16,991 But it's that same little shape. 46 00:02:16,991 --> 00:02:18,034 Yeah. 47 00:02:18,034 --> 00:02:21,371 ♪♪ But that shape is a marvelous shape ♪♪ 48 00:02:21,371 --> 00:02:22,247 (Rick chuckles) 49 00:02:22,247 --> 00:02:25,875 ♪♪ You can do anything with that shape ♪♪ 50 00:02:25,875 --> 00:02:29,629 ♪♪ 51 00:02:29,629 --> 00:02:30,296 You know? 52 00:02:30,296 --> 00:02:32,090 RICK: Did your dad teach you that shape? 53 00:02:32,090 --> 00:02:33,424 No, we figured that out from‐‐ 54 00:02:33,424 --> 00:02:34,801 ♪♪ playing rock music on piano ♪♪ 55 00:02:34,801 --> 00:02:35,677 Yeah. 56 00:02:36,261 --> 00:02:38,596 We had to know this to do Jerry Lee Lewis. 57 00:02:38,596 --> 00:02:39,305 Yeah. 58 00:02:39,305 --> 00:02:42,308 ♪♪ Oh, baby, a whole lotta shakin' goin' on ♪♪ 59 00:02:42,308 --> 00:02:43,226 RICK: Yeah. 60 00:02:46,104 --> 00:02:49,566 So once you figure that‐‐ 61 00:02:49,566 --> 00:02:52,402 ♪♪ playing chords ♪♪ 62 00:02:52,402 --> 00:02:55,488 So it really gets super fascinating, I think. 63 00:02:55,488 --> 00:02:56,865 Absolutely. You know, you, 64 00:02:56,865 --> 00:02:58,408 you've got all the chords you can play with, 65 00:02:58,408 --> 00:03:01,786 put those in permutations, then mess with the bass notes. 66 00:03:01,786 --> 00:03:03,162 Obvious thing to do is to do 67 00:03:03,162 --> 00:03:05,248 the... the note 68 00:03:05,248 --> 00:03:07,375 one octave down that relates to that chord. 69 00:03:07,375 --> 00:03:08,376 ♪♪ plays lower chord ♪♪ 70 00:03:08,376 --> 00:03:09,460 But you can do‐‐ 71 00:03:09,460 --> 00:03:11,504 ♪♪ playing melody ♪♪ 72 00:03:11,504 --> 00:03:12,338 Harmony. 73 00:03:12,338 --> 00:03:15,049 ♪♪ 74 00:03:15,049 --> 00:03:17,218 And you, you're getting really dramatic now. 75 00:03:17,218 --> 00:03:21,598 ♪♪ 76 00:03:22,307 --> 00:03:23,182 Yeah. 77 00:03:24,183 --> 00:03:27,520 And I think that's all we ever did, you know, just experimented. 78 00:03:27,937 --> 00:03:30,940 Uh, with John doing Imagine, you could hear that's him‐‐ 79 00:03:30,940 --> 00:03:32,150 (humming) 80 00:03:32,150 --> 00:03:33,193 RICK: Yeah. 81 00:03:33,193 --> 00:03:35,320 It's just sort of what we'd learned based on that. 82 00:03:35,320 --> 00:03:36,738 ♪♪ playing rock music on piano ♪♪ 83 00:03:36,738 --> 00:03:37,655 Yeah. 84 00:03:39,782 --> 00:03:42,619 I saw John Legend the other night, and John's doing this‐‐ 85 00:03:42,619 --> 00:03:43,828 ♪♪ playing chords on piano ♪♪ 86 00:03:43,828 --> 00:03:46,664 I forget what the song was. And then he sort of goes‐‐ 87 00:03:46,664 --> 00:03:51,127 ♪♪ 88 00:03:51,127 --> 00:03:52,879 But that's, that's those‐‐ 89 00:03:52,879 --> 00:03:55,089 Yeah. Yeah. 90 00:03:55,423 --> 00:03:58,134 You, you know, if you put some nice soul stuff over that‐‐ 91 00:03:58,551 --> 00:04:02,805 ♪♪ I got pain, I got my pain in my heart ♪♪ 92 00:04:02,805 --> 00:04:03,765 You know? RICK: Yeah. 93 00:04:04,474 --> 00:04:06,851 (indiscernible singing) 94 00:04:08,519 --> 00:04:09,604 Or‐‐ 95 00:04:09,604 --> 00:04:12,398 ♪♪ When I find myself in times of trouble ♪♪ 96 00:04:12,398 --> 00:04:14,943 ♪♪ Mother Mary comes to me ♪♪ 97 00:04:14,943 --> 00:04:16,444 Same chords. Wow. 98 00:04:16,444 --> 00:04:18,112 ♪♪ Words of wisdom ♪♪ 99 00:04:18,696 --> 00:04:19,739 ♪♪ Let it be ♪♪ 100 00:04:20,990 --> 00:04:21,533 RICK: Wow. 101 00:04:21,533 --> 00:04:24,410 ♪♪ Let it be, let it be ♪♪ 102 00:04:25,286 --> 00:04:27,789 ♪♪ Let it be, let it be ♪♪ 103 00:04:28,748 --> 00:04:30,833 ♪♪ 'Cause there will be an answer ♪♪ 104 00:04:31,626 --> 00:04:33,086 ♪♪ Let it be ♪♪ 105 00:04:34,546 --> 00:04:39,634 ♪♪ Let It Be playing ♪♪ 106 00:04:39,634 --> 00:04:44,013 ♪♪ 107 00:04:54,691 --> 00:04:57,569 ♪♪ Let it be, let it be ♪♪ 108 00:04:58,069 --> 00:05:01,322 ♪♪ Let it be, yeah, let it be ♪♪ 109 00:05:02,657 --> 00:05:05,577 ♪♪ There will be an answer ♪♪ 110 00:05:05,577 --> 00:05:09,455 ♪♪ Let it be ♪♪ 111 00:05:09,455 --> 00:05:13,459 ♪♪ 112 00:05:17,380 --> 00:05:20,008 ♪♪ song ends ♪♪ 113 00:05:21,175 --> 00:05:24,637 Our favorite composer was Bach in the Beatles 114 00:05:24,637 --> 00:05:26,806 'cause it was nearest to what we were doing. 115 00:05:26,806 --> 00:05:28,725 And we would just say, "Just put a beat behind it." 116 00:05:28,725 --> 00:05:29,851 Yeah. 117 00:05:29,851 --> 00:05:32,812 (Paul imitating drum beats) 118 00:05:32,812 --> 00:05:33,730 Yeah. 119 00:05:33,730 --> 00:05:34,981 It'd be, it'd be better. 120 00:05:34,981 --> 00:05:36,566 Yeah. It'd be better then. 121 00:05:36,566 --> 00:05:37,275 Yeah. 122 00:05:37,275 --> 00:05:40,069 What I liked about it was the mathematical thing, 123 00:05:40,069 --> 00:05:41,070 so that you kind of go‐‐ 124 00:05:41,070 --> 00:05:42,780 ♪♪ plays notes ♪♪ 125 00:05:42,780 --> 00:05:43,948 Or Eleanor Rigby‐‐ 126 00:05:43,948 --> 00:05:45,658 ♪♪ playing higher notes ♪♪ 127 00:05:45,658 --> 00:05:49,204 You do that. So you go one, two, three, four. 128 00:05:49,204 --> 00:05:51,331 And then you found out this is what they were doing. 129 00:05:51,331 --> 00:05:53,833 ♪♪ 130 00:05:53,833 --> 00:05:55,919 One. Two. 131 00:05:56,669 --> 00:05:57,545 And then it‐‐ 132 00:05:58,796 --> 00:06:02,592 You know, so you put those together and then on top of it, you might put‐‐ 133 00:06:02,592 --> 00:06:05,803 ♪♪ playing quick high notes ♪♪ 134 00:06:05,803 --> 00:06:08,389 ♪♪ 135 00:06:08,389 --> 00:06:11,226 So you've got, like, you know, two or four or eight. 136 00:06:11,226 --> 00:06:13,186 Yeah. Yeah. In the same space. Very simple mathematics. 137 00:06:13,186 --> 00:06:14,604 Yeah, yeah, yeah. It's all happening together, 138 00:06:14,604 --> 00:06:18,191 so it gives this lovely feel of something satisfying. 139 00:06:21,611 --> 00:06:23,238 Eleanor. 140 00:06:23,238 --> 00:06:23,988 Let's do it. 141 00:06:24,822 --> 00:06:25,657 Aah! 142 00:06:26,741 --> 00:06:31,079 PAUL: (on recording) ♪♪ Ah, look at all the lonely people! ♪♪ 143 00:06:31,079 --> 00:06:33,665 ♪♪ 144 00:06:33,665 --> 00:06:38,002 ♪♪ Ah, look at all the lonely people! ♪♪ 145 00:06:38,002 --> 00:06:40,588 ♪♪ 146 00:06:40,588 --> 00:06:42,340 ♪♪ Eleanor Rigby ♪♪ 147 00:06:42,340 --> 00:06:46,386 ♪♪ Picks up the rice in the church where a wedding has been ♪♪ 148 00:06:47,679 --> 00:06:51,182 ♪♪ Lives in a dream waits at the window ♪♪ 149 00:06:51,182 --> 00:06:53,017 So that's where they've done. Yeah. 150 00:06:53,893 --> 00:06:55,061 I remember... 151 00:06:57,480 --> 00:07:01,109 showing this to George, uh, Martin 152 00:07:01,109 --> 00:07:04,362 and we'd already done Yesterday, 153 00:07:04,362 --> 00:07:05,572 so this was like, 154 00:07:06,823 --> 00:07:09,284 it'd be nice to‐‐ I think this song could suit, 155 00:07:09,742 --> 00:07:12,328 but instead of a quartet, it was now an octet. 156 00:07:12,328 --> 00:07:14,789 Again, just to do something a bit different. 157 00:07:15,373 --> 00:07:18,376 And I brought it in like, a little bit like‐‐ Yeah. 158 00:07:19,377 --> 00:07:20,628 Yeah, I brought it in like‐‐ 159 00:07:20,628 --> 00:07:22,422 ♪♪ 160 00:07:22,422 --> 00:07:24,048 ♪♪ Eleanor Rigby ♪♪ 161 00:07:24,048 --> 00:07:28,136 (humming) 162 00:07:31,598 --> 00:07:33,516 And then George would show me. 163 00:07:33,516 --> 00:07:35,393 He would say, "Well, okay, that's sort of rock and roll." 164 00:07:35,393 --> 00:07:36,227 ♪♪ plays chord ♪♪ 165 00:07:36,227 --> 00:07:38,563 So all pretty much in one octave. 166 00:07:38,563 --> 00:07:39,522 RICK: Mm‐hmm. 167 00:07:40,315 --> 00:07:44,777 But he would then say, "Okay, so a cello would go there 168 00:07:44,777 --> 00:07:48,323 "and then a viola would go there, 169 00:07:48,323 --> 00:07:49,365 and then‐‐" 170 00:07:50,408 --> 00:07:52,035 So he would separate all the notes. 171 00:07:52,035 --> 00:07:52,619 RICK: Yeah. 172 00:07:52,619 --> 00:07:56,080 And that's a fabulous orchestration that, that he did. 173 00:07:57,081 --> 00:07:59,751 And this doesn't have the piano in it? 174 00:08:00,251 --> 00:08:02,128 You wrote it on the piano and then decided to‐‐ Yeah, that was‐‐ 175 00:08:02,128 --> 00:08:04,380 Yeah, that was the thing because, you know, Yesterday, 176 00:08:04,380 --> 00:08:06,549 there'd just been the one guitar. Yeah. 177 00:08:06,549 --> 00:08:09,510 So we decided we'd kind of try and go a little bit further... Yeah. 178 00:08:09,510 --> 00:08:13,765 And just have this, and then I would sing to this. 179 00:08:13,765 --> 00:08:17,852 You know, so I'd show George the chords. He would then transpose it. 180 00:08:18,853 --> 00:08:21,314 Then George would talk to the musicians, sort of say‐‐ 181 00:08:21,314 --> 00:08:22,357 (imitates beats) 182 00:08:22,357 --> 00:08:25,276 I want it kind of really, bam, bam, quite bright. 183 00:08:25,276 --> 00:08:28,279 Staccato. (imitating violin) 184 00:08:28,279 --> 00:08:29,781 And they got into it. Yeah. 185 00:08:29,781 --> 00:08:30,573 They loved it, you know. 186 00:08:30,573 --> 00:08:33,076 It's a nice, nice little arrangement on its own. 187 00:08:33,076 --> 00:08:34,953 Yeah. And then I sang it. 188 00:08:34,953 --> 00:08:36,871 And I didn't think I was singing it well. 189 00:08:37,288 --> 00:08:41,000 I remember talking to George, "I'm not singing this." 190 00:08:41,000 --> 00:08:42,835 He said, "No, it's okay. It's good." 191 00:08:42,835 --> 00:08:45,588 He was calming me down. Mm. 192 00:08:45,588 --> 00:08:47,382 And then we double tracked it. Mm. 193 00:08:47,382 --> 00:08:50,051 I think probably because I didn't think I'd sung it well, 194 00:08:50,051 --> 00:08:51,344 so then... "Double track it." 195 00:08:51,344 --> 00:08:53,179 We cover any sins. 196 00:08:53,972 --> 00:08:58,017 When you first heard it played by the octet... 197 00:08:58,017 --> 00:08:59,811 Mm. ...what was the feeling like? 198 00:08:59,811 --> 00:09:01,521 It was very exciting, actually. 199 00:09:01,521 --> 00:09:03,565 Downstairs in Abbey Road, 200 00:09:03,565 --> 00:09:06,025 the eight guys assembled 201 00:09:06,025 --> 00:09:08,278 and they did it live. 202 00:09:08,278 --> 00:09:09,654 Did you listen from the control room? 203 00:09:09,654 --> 00:09:10,905 Do you remember? Yeah. 204 00:09:10,905 --> 00:09:12,949 I would, I would kind of go down and say hi 205 00:09:12,949 --> 00:09:14,742 and, you know, listen to it down there. 206 00:09:14,742 --> 00:09:15,410 Yeah. 207 00:09:15,410 --> 00:09:16,953 Which is always nice first. Yeah. 208 00:09:16,953 --> 00:09:19,330 Then you go up and see what the engineers are making of it. 209 00:09:19,330 --> 00:09:19,956 Yeah. 210 00:09:19,956 --> 00:09:21,749 You know, they'd put it all together. Yeah. 211 00:09:21,749 --> 00:09:23,835 Put the right little bits of fairy dust on it. 212 00:09:23,835 --> 00:09:24,335 Yeah. 213 00:09:24,335 --> 00:09:27,213 And they, they now made it like a record. 214 00:09:27,213 --> 00:09:29,799 ♪♪ 215 00:09:29,799 --> 00:09:33,845 It's funny. On the EMI desk that we first worked on, 216 00:09:33,845 --> 00:09:36,306 there was the thing on the end of the desk here, 217 00:09:36,306 --> 00:09:37,807 a little switch. 218 00:09:37,807 --> 00:09:41,895 You'd put it up for classical and then down for pop. 219 00:09:41,895 --> 00:09:44,397 So ours was always in the pop position. 220 00:09:45,106 --> 00:09:46,566 It was funny 'cause we, 221 00:09:46,566 --> 00:09:49,235 (chuckles) we took things very on face value. 222 00:09:49,235 --> 00:09:50,278 Yeah. 223 00:09:50,278 --> 00:09:53,740 "Why have they got a better set of EQs than we've got?" 224 00:09:54,365 --> 00:09:56,201 They said, "No, it's not better. 225 00:09:56,201 --> 00:09:59,412 "Pop, you need more of these, sort of aggression and so and so. 226 00:09:59,412 --> 00:10:02,624 Classical, it's more, it's sort of more mellow and stuff." 227 00:10:02,624 --> 00:10:04,417 But that was our way of thinking. 228 00:10:04,417 --> 00:10:05,376 Yeah. 229 00:10:05,376 --> 00:10:07,170 "Wait a minute. How come they've got that? 230 00:10:08,087 --> 00:10:09,339 We want a bit of‐‐" 231 00:10:09,339 --> 00:10:11,049 (both laugh) 232 00:10:11,049 --> 00:10:14,469 ♪♪ classical music playing ♪♪ 233 00:10:14,469 --> 00:10:17,847 ♪♪ 234 00:10:18,264 --> 00:10:21,309 With Penny Lane, I'd come into the studio 235 00:10:21,309 --> 00:10:24,729 and the night before I happened to be watching on television 236 00:10:24,729 --> 00:10:27,232 the Brandenburg Concerto. Bach. 237 00:10:27,232 --> 00:10:28,107 Yeah. 238 00:10:28,107 --> 00:10:30,026 I'd just kind of got it on the background almost, you know. 239 00:10:30,026 --> 00:10:30,860 I'm listening to it. 240 00:10:30,860 --> 00:10:33,321 And then there's a little trumpet, 241 00:10:33,321 --> 00:10:36,407 very high little trumpet that Bach uses. 242 00:10:36,407 --> 00:10:38,576 Mm. And I came in the next day, 243 00:10:38,576 --> 00:10:40,620 I said to George, I said, "George, wha‐‐" Martin. 244 00:10:40,620 --> 00:10:42,664 Yeah. I said "What was that?" 245 00:10:42,664 --> 00:10:44,582 He said, "Oh, that's a piccolo trumpet." 246 00:10:44,582 --> 00:10:48,753 ♪♪ 247 00:10:53,424 --> 00:10:55,093 Funny thing about George, he knew 248 00:10:55,718 --> 00:10:57,428 all the best players... Yeah. 249 00:10:57,428 --> 00:10:59,514 from the classical orchestras. 250 00:10:59,514 --> 00:11:01,558 And there's a guy called David Mason 251 00:11:01,558 --> 00:11:04,686 who was a really good player. 252 00:11:05,061 --> 00:11:07,689 And so we just booked him. Yeah. 253 00:11:07,689 --> 00:11:09,649 So we go in there and we've done the track, 254 00:11:09,649 --> 00:11:12,235 and we're ready to put this, we've left room for a solo. 255 00:11:12,235 --> 00:11:14,654 George and David sort of say, 256 00:11:14,654 --> 00:11:17,407 "Okay, so what do we, what do we want to play?" 257 00:11:17,824 --> 00:11:19,033 And I go, um, 258 00:11:19,826 --> 00:11:22,287 (imitating trumpets) 259 00:11:22,287 --> 00:11:23,830 And they go, "Okay, hang on." 260 00:11:23,830 --> 00:11:25,039 And they're writing it down. 261 00:11:25,039 --> 00:11:26,499 (humming) 262 00:11:26,499 --> 00:11:28,418 So we were kind of making it up on the spot. 263 00:11:28,418 --> 00:11:29,002 Yeah. 264 00:11:29,002 --> 00:11:31,462 And so I went‐‐ (imitating high trumpet note) 265 00:11:31,462 --> 00:11:34,382 and put, like, an impossible high note. 266 00:11:34,883 --> 00:11:37,385 And David Mason turns to me, he says, 267 00:11:37,385 --> 00:11:39,387 "Well, that's officially 268 00:11:39,387 --> 00:11:42,223 out of the range of the piccolo trumpet even." 269 00:11:42,765 --> 00:11:45,852 And I kind of give him a look like, "Yeah." 270 00:11:45,852 --> 00:11:48,646 Like, "You can do it," you know. 271 00:11:48,646 --> 00:11:50,732 He goes, "Okay." 272 00:11:51,566 --> 00:11:53,693 So he plays it and it's, uh, 273 00:11:54,235 --> 00:11:55,737 it haunted him for the rest of his life, you know. 274 00:11:55,737 --> 00:11:57,614 Let's hear this. Yeah. 275 00:11:57,614 --> 00:12:00,116 ♪♪ Penny Lane playing ♪♪ 276 00:12:00,116 --> 00:12:01,451 The flute's beautiful too. 277 00:12:02,785 --> 00:12:05,121 Yeah, I think it's a mix of the two. 278 00:12:05,121 --> 00:12:08,082 ♪♪ 279 00:12:08,082 --> 00:12:11,461 ♪♪ trumpet playing high notes ♪♪ 280 00:12:11,461 --> 00:12:14,547 ♪♪ 281 00:12:14,547 --> 00:12:15,465 Wow! 282 00:12:15,465 --> 00:12:19,302 ♪♪ trumpet continues ♪♪ 283 00:12:19,302 --> 00:12:20,386 It's singing. Yeah. 284 00:12:20,386 --> 00:12:23,973 ♪♪ 285 00:12:23,973 --> 00:12:26,893 PAUL: (on recording) ♪♪ Penny Lane is in my ears ♪♪ 286 00:12:26,893 --> 00:12:29,062 Whoa! That was cool. 287 00:12:33,983 --> 00:12:37,695 ♪♪ Four of fish and finger pies ♪♪ 288 00:12:37,695 --> 00:12:40,698 ♪♪ In summer, meanwhile back ♪♪ 289 00:12:40,698 --> 00:12:44,661 ♪♪ Behind the shelter in the middle of a roundabout ♪♪ 290 00:12:44,661 --> 00:12:46,663 ♪♪ A pretty nurse is selling... ♪♪ 291 00:12:46,663 --> 00:12:48,581 It's a groove you can listen to all day. 292 00:12:48,581 --> 00:12:50,416 You know, it's just like‐‐ Yeah. 293 00:12:50,917 --> 00:12:52,835 That feeling doesn't get old. 294 00:12:53,378 --> 00:12:55,588 ♪♪ She is anyway ♪♪ 295 00:12:56,256 --> 00:12:57,924 ♪♪ Very strange ♪♪ 296 00:12:57,924 --> 00:13:01,719 ♪♪ Penny Lane is in my ears... ♪♪ 297 00:13:01,719 --> 00:13:03,304 Now these are more funky. 298 00:13:03,304 --> 00:13:04,347 Yeah. 299 00:13:04,347 --> 00:13:07,225 ♪♪ trumpet playing ♪♪ 300 00:13:08,184 --> 00:13:12,188 I don't think this is David. This is other players. 301 00:13:12,188 --> 00:13:14,983 ♪♪ I sit and meanwhile back ♪♪ 302 00:13:14,983 --> 00:13:16,651 ♪♪ 303 00:13:16,651 --> 00:13:19,362 I never heard that before. Crash sound. It was cool. 304 00:13:19,362 --> 00:13:21,239 I've heard it. Yeah. Yeah. (rolls tongue) 305 00:13:21,239 --> 00:13:22,323 Oh. 306 00:13:22,323 --> 00:13:23,908 They're so, they're so high. 307 00:13:23,908 --> 00:13:28,746 ♪♪ 308 00:13:29,289 --> 00:13:31,291 Ridiculous. Beautiful. 309 00:13:31,291 --> 00:13:34,961 ♪♪ 310 00:13:34,961 --> 00:13:39,966 ♪♪ song ends ♪♪ 311 00:13:39,966 --> 00:13:42,135 And that's an example, there at the end, that‐‐ 312 00:13:42,135 --> 00:13:43,303 (whistles) Yeah. 313 00:13:43,303 --> 00:13:46,222 I mean, anyone else would go, "Oh, that's feedback." 314 00:13:46,222 --> 00:13:47,348 Yeah. "Let's get rid of it." 315 00:13:47,348 --> 00:13:48,892 And it well might be feedback. 316 00:13:48,892 --> 00:13:50,101 I don't remember. Yeah. 317 00:13:50,101 --> 00:13:52,270 But with us, going, "No, it sounds good." 318 00:13:52,270 --> 00:13:53,521 Yeah. You know, "It's great. 319 00:13:53,521 --> 00:13:54,856 It's fine," you know. 320 00:13:55,273 --> 00:13:59,027 So we'd leave accidents a lot of the time. Yeah. 321 00:13:59,027 --> 00:14:01,738 Would the engineers ever fight back, like, if you did something 322 00:14:01,738 --> 00:14:03,823 and didn't like the way the meters were looking or anything like that? 323 00:14:03,823 --> 00:14:05,033 In the beginning, yeah. Yeah. 324 00:14:05,033 --> 00:14:06,534 PAUL: Because they're trained... RICK: Yeah. 325 00:14:06,534 --> 00:14:08,578 PAUL: ...by the record company 326 00:14:08,578 --> 00:14:10,079 to follow the meters. 327 00:14:10,079 --> 00:14:11,414 You're not supposed to go in the red. 328 00:14:11,414 --> 00:14:13,124 RICK: Yeah. PAUL: Obviously, you know. 329 00:14:13,124 --> 00:14:15,460 But we'd say, "No, go in the red. Go in the red." 330 00:14:16,044 --> 00:14:18,630 'Cause it would make the guitars, like, hot, 331 00:14:18,630 --> 00:14:21,883 make an acoustic guitar, like, into an electric guitar. 332 00:14:21,883 --> 00:14:23,635 Yeah. These days, it's not so easy. 333 00:14:23,635 --> 00:14:26,971 These older boards, you could defeat them. 334 00:14:26,971 --> 00:14:29,349 If we went into the red, it would distort a bit. 335 00:14:29,349 --> 00:14:30,016 Yeah. 336 00:14:30,016 --> 00:14:32,227 Now they're rather good, and they can handle it. 337 00:14:32,227 --> 00:14:33,019 I see. 338 00:14:33,019 --> 00:14:34,270 Which is a pity. Yeah. 339 00:14:34,270 --> 00:14:36,147 Because, you know, we used to love that. 340 00:14:36,981 --> 00:14:39,067 Would you ever, after recording a guitar song, 341 00:14:39,067 --> 00:14:42,570 decide to reinforce the guitars with piano or‐‐ 342 00:14:42,570 --> 00:14:43,863 Yeah, sometimes. Yeah. 343 00:14:43,863 --> 00:14:45,448 Sometimes, it's really a good idea. 344 00:14:45,448 --> 00:14:47,075 Say you've got a little bass part. 345 00:14:47,075 --> 00:14:48,952 Yeah. And the bass is doing a‐‐ 346 00:14:49,536 --> 00:14:53,414 (humming) 347 00:14:53,414 --> 00:14:55,833 Then you can come‐‐ ♪♪ playing piano ♪♪ 348 00:14:55,833 --> 00:14:58,002 ♪♪ 349 00:14:58,002 --> 00:15:00,380 That combined with a bass is a great sound. 350 00:15:00,380 --> 00:15:01,047 RICK: Yeah. 351 00:15:01,047 --> 00:15:03,424 PAUL: This gives it the punch. RICK: Yeah. 352 00:15:03,424 --> 00:15:05,552 (Paul imitating drumbeat) The attack. 353 00:15:05,552 --> 00:15:06,803 Yeah. PAUL: Yeah. 354 00:15:06,803 --> 00:15:11,558 ♪♪ playing up‐tempo music ♪♪ 355 00:15:11,558 --> 00:15:15,603 ♪♪ 356 00:15:18,898 --> 00:15:19,858 Yeah. 357 00:15:20,608 --> 00:15:22,861 This reminds me a bit of the piano 358 00:15:22,861 --> 00:15:25,029 that's still there in Abbey Road, actually. 359 00:15:25,029 --> 00:15:27,615 We used to call it Mrs. Mills' piano 360 00:15:27,615 --> 00:15:30,118 'cause there was a pianist who did all this sort of‐‐ 361 00:15:30,118 --> 00:15:31,286 ♪♪ plays piano and hums ♪♪ 362 00:15:31,286 --> 00:15:33,371 And you're like‐‐ (hums) 363 00:15:33,371 --> 00:15:35,248 I can't play it. Stride. 364 00:15:35,248 --> 00:15:39,127 ♪♪ playing upbeat music ♪♪ 365 00:15:39,127 --> 00:15:42,338 ♪♪ 366 00:15:45,216 --> 00:15:47,886 PAUL: And Mrs. Mills' piano inspired that. 367 00:15:47,886 --> 00:15:48,845 Hmm. You know? 368 00:15:48,845 --> 00:15:50,597 I mean, I wrote it at home. Yeah. 369 00:15:50,597 --> 00:15:54,267 But it was like, "No, got to do this on that funky little piano." 370 00:15:54,809 --> 00:15:56,352 And songs like that, 371 00:15:56,352 --> 00:15:58,980 um, I like to kind of change my voice a bit. 372 00:15:59,439 --> 00:16:01,816 So I like to sort of get a harder voice. 373 00:16:01,816 --> 00:16:04,903 (hard voice) ♪♪ Lady Madonna ♪♪ 374 00:16:04,903 --> 00:16:06,821 Instead of... (soft voice) ♪♪ Lady Madonna ♪♪ 375 00:16:06,821 --> 00:16:08,823 So you're going... (hard voice) ♪♪ Lady Madonna ♪♪ 376 00:16:09,449 --> 00:16:11,242 ♪♪ Children at your feet ♪♪ 377 00:16:11,701 --> 00:16:16,206 ♪♪ Wonder how you manage to make ends meet ♪♪ 378 00:16:16,206 --> 00:16:18,082 ♪♪ Lady Madonna ♪♪ 379 00:16:18,583 --> 00:16:19,626 ♪♪ Yeah ♪♪ 380 00:16:19,626 --> 00:16:21,127 So the singer would be the same guy 381 00:16:21,127 --> 00:16:22,921 who's playing that piano part, makes sense. 382 00:16:22,921 --> 00:16:24,297 Yeah. It's almost like a character study. 383 00:16:24,297 --> 00:16:25,256 Yeah. Yeah. 384 00:16:25,715 --> 00:16:28,509 I‐I‐It's one of the things I'd like to do, you know. 385 00:16:29,594 --> 00:16:34,098 ♪♪ instruments tuning on recording ♪♪ ♪♪ vocalizing on recording ♪♪ 386 00:16:34,098 --> 00:16:36,017 Love that sound of the tape starting. 387 00:16:36,017 --> 00:16:37,310 Yeah. It's such a good sound. 388 00:16:37,310 --> 00:16:38,895 PAUL: (on recording) ...three, four. 389 00:16:38,895 --> 00:16:43,191 ♪♪ Paul McCartney & Wings' Band On The Run playing ♪♪ 390 00:16:43,191 --> 00:16:44,734 (indiscernible talking) 391 00:16:46,986 --> 00:16:48,988 MAN: (on recording) I sit and watch all the children. 392 00:16:49,781 --> 00:16:51,074 Yeah. Walking by... 393 00:16:52,992 --> 00:16:54,536 They seem to say to me... 394 00:16:54,953 --> 00:16:57,247 I couldn't tell what she was thinking. 395 00:16:59,165 --> 00:17:00,166 But I knew 396 00:17:01,125 --> 00:17:02,752 it was through. 397 00:17:06,089 --> 00:17:10,927 Yeah, my, my record label, they've got studios everywhere, you know. 398 00:17:11,261 --> 00:17:13,346 Brazil. China. 399 00:17:13,846 --> 00:17:16,266 And I was into tenor guitar. 400 00:17:16,266 --> 00:17:19,769 (imitating guitar) 401 00:17:19,769 --> 00:17:21,104 Little sort of Africany thing. 402 00:17:21,563 --> 00:17:24,190 So I liked that, so I just plunked for Lagos. 403 00:17:24,190 --> 00:17:25,400 Let's go there. 404 00:17:26,442 --> 00:17:27,819 Okay, now go, boy. 405 00:17:27,819 --> 00:17:32,115 PAUL: (on recording) ♪♪ Stuck inside these four walls ♪♪ 406 00:17:33,783 --> 00:17:35,326 ♪♪ Sent inside forever ♪♪ 407 00:17:35,326 --> 00:17:37,745 Really good vocal. It's a good vocal. 408 00:17:37,745 --> 00:17:39,706 It's a nice, like, gentle little‐‐ 409 00:17:39,706 --> 00:17:44,210 ♪♪ Never seeing no one ♪♪ 410 00:17:45,628 --> 00:17:49,674 ♪♪ Nice again ♪♪ 411 00:17:50,717 --> 00:17:53,678 ♪♪ Like you ♪♪ 412 00:17:54,429 --> 00:17:59,017 ♪♪ Mama, you ♪♪ 413 00:17:59,017 --> 00:18:00,643 I'm drumming on this too. 414 00:18:01,853 --> 00:18:03,396 Couple of members of my band 415 00:18:03,396 --> 00:18:05,565 rang me up the night before we were due to leave. 416 00:18:05,565 --> 00:18:06,858 They said, "We're not coming." 417 00:18:07,483 --> 00:18:08,735 For an hour or so, it was like, 418 00:18:08,735 --> 00:18:10,778 "Oh, what a bummer. I don't believe it," 419 00:18:10,778 --> 00:18:12,322 you know, "God," you know. 420 00:18:12,322 --> 00:18:16,659 And then a sort of optimistic spirit came back, 421 00:18:16,659 --> 00:18:18,077 and I sort of thought, 422 00:18:18,077 --> 00:18:20,205 "You know what? We're going to make a record." 423 00:18:20,205 --> 00:18:22,290 ♪♪ 424 00:18:22,290 --> 00:18:23,750 (indistinct) 425 00:18:24,667 --> 00:18:25,501 Yeah. 426 00:18:27,629 --> 00:18:28,630 There was a little period 427 00:18:28,630 --> 00:18:32,342 when certain people started writing, like, "rock opera." 428 00:18:32,342 --> 00:18:32,884 Yeah. 429 00:18:32,884 --> 00:18:36,095 It was kind of nice. It was, like, different. 430 00:18:36,888 --> 00:18:38,306 So I thought I could have a go at it. 431 00:18:38,306 --> 00:18:44,145 ♪♪ Band On the Run continues ♪♪ 432 00:18:44,145 --> 00:18:47,524 ♪♪ 433 00:18:48,066 --> 00:18:50,276 Is that a Moog? Yeah. 434 00:18:50,276 --> 00:18:52,779 ♪♪ If I ever get out of here ♪♪ 435 00:18:53,196 --> 00:18:55,740 ♪♪ Thought of giving it all away ♪♪ 436 00:18:56,115 --> 00:18:58,660 ♪♪ To a registered charity ♪♪ 437 00:18:59,035 --> 00:19:01,204 ♪♪ All I need is a pint a day ♪♪ 438 00:19:01,204 --> 00:19:03,665 ♪♪ If I ever get outta here ♪♪ 439 00:19:04,165 --> 00:19:06,834 ♪♪ If we ever get outta here ♪♪ 440 00:19:06,834 --> 00:19:11,256 ♪♪ 441 00:19:14,968 --> 00:19:19,556 ♪♪ music crescendos ♪♪ 442 00:19:19,556 --> 00:19:21,975 Yeah, again, unexpected twists and turns. 443 00:19:21,975 --> 00:19:23,560 Yeah. Yeah. Cinematic. 444 00:19:23,560 --> 00:19:27,355 ♪♪ Well, the rain exploded with a mighty crash ♪♪ 445 00:19:27,355 --> 00:19:30,024 ♪♪ As we fell into the sun ♪♪ 446 00:19:31,150 --> 00:19:35,238 ♪♪ And the first one said to the second one there ♪♪ 447 00:19:35,238 --> 00:19:38,658 ♪♪ "I hope you're having fun" ♪♪ 448 00:19:39,117 --> 00:19:41,536 ♪♪ Band on the run ♪♪ 449 00:19:42,912 --> 00:19:45,456 ♪♪ Band on the run ♪♪ 450 00:19:45,456 --> 00:19:50,169 PAUL: So we went to Lagos where the studio was just being kind of finished, 451 00:19:50,169 --> 00:19:51,629 but it was good. 452 00:19:51,629 --> 00:19:57,302 And I had with me the tapes of all the songs for the album. 453 00:19:57,302 --> 00:19:57,969 Mm‐hmm. 454 00:19:57,969 --> 00:20:01,055 However, we were warned, whatever you do, 455 00:20:01,055 --> 00:20:04,017 don't go out late in certain areas. 456 00:20:04,475 --> 00:20:07,395 And, so of course, we go to a friend's house, 457 00:20:07,395 --> 00:20:08,855 and we go out late at night. 458 00:20:09,480 --> 00:20:12,317 Hippies. We just did not listen to anyone. 459 00:20:12,859 --> 00:20:14,068 So a car pulls up. 460 00:20:14,652 --> 00:20:16,196 The guy gets out of the car, 461 00:20:17,238 --> 00:20:20,450 and, and I go into Liverpool mode. 462 00:20:20,450 --> 00:20:23,453 I go, "Oh, that is so nice of you." 463 00:20:23,453 --> 00:20:24,162 (Rick chuckles) 464 00:20:24,162 --> 00:20:26,247 "You're going to give us a lift. No, get back in your car." 465 00:20:26,247 --> 00:20:28,333 So I bundle him back in the car. Yeah. 466 00:20:28,333 --> 00:20:31,085 Five of them jumped out the car, one of them had a knife. 467 00:20:32,003 --> 00:20:34,339 Linda's, aah! Screaming at them. 468 00:20:34,339 --> 00:20:38,176 So they took all our stuff, including my demos for Band On The Run. 469 00:20:38,176 --> 00:20:40,803 That was the only thing I was really pissed about. 470 00:20:40,803 --> 00:20:41,554 Yeah. 471 00:20:41,554 --> 00:20:45,308 And so now we had to make the album with just three of us, 472 00:20:45,308 --> 00:20:48,728 me, Linda, and Denny, without the demo recordings. 473 00:20:48,728 --> 00:20:49,812 Yes. 474 00:20:49,812 --> 00:20:52,023 And so, again, we just thought, 475 00:20:52,023 --> 00:20:54,651 (sighs) "Right, let's do this." 476 00:20:54,651 --> 00:20:57,362 And we just became determined 477 00:20:57,362 --> 00:21:01,491 to, to make it a... a good record. 478 00:21:01,491 --> 00:21:04,035 ♪♪ Yeah, the band on the run ♪♪ 479 00:21:05,286 --> 00:21:07,705 ♪♪ Band on the run ♪♪ 480 00:21:09,541 --> 00:21:13,545 Do you feel like by going there, it impacted the album? 481 00:21:13,545 --> 00:21:15,213 I was kind of half wondering 482 00:21:15,213 --> 00:21:19,008 whether we'd pick up a lot of African vibes 483 00:21:19,008 --> 00:21:20,927 and maybe musicians, 484 00:21:20,927 --> 00:21:22,470 bit Graceland thing, you know. Yeah. 485 00:21:22,470 --> 00:21:24,597 Um, but we didn't. 486 00:21:24,597 --> 00:21:28,059 The only thing happened was I went to see Fela Kuti. 487 00:21:28,601 --> 00:21:30,895 ♪♪ singing ITT (International Thief Thief) ♪♪ 488 00:21:30,895 --> 00:21:31,813 ♪♪ Long time ago ♪♪ 489 00:21:31,813 --> 00:21:34,148 ♪♪ Na for them culture to carry shit ♪♪ 490 00:21:34,148 --> 00:21:35,483 ♪♪ Long time ago ♪♪ 491 00:21:35,483 --> 00:21:37,652 ♪♪ During the time them come colonize us ♪♪ 492 00:21:37,652 --> 00:21:38,987 ♪♪ Long time ago ♪♪ 493 00:21:38,987 --> 00:21:41,197 ♪♪ Them come teach us to carry shit ♪♪ 494 00:21:41,197 --> 00:21:42,490 ♪♪ Long time ago ♪♪ 495 00:21:42,490 --> 00:21:44,617 ♪♪ Long, long, long, long time ago ♪♪ 496 00:21:44,617 --> 00:21:46,077 ♪♪ Long time ago ♪♪ 497 00:21:46,077 --> 00:21:49,873 ♪♪ 498 00:21:54,335 --> 00:21:56,170 PAUL: This was at the Afrika Shrine, 499 00:21:56,880 --> 00:21:59,549 which was his club outside Lagos. RICK: Yeah. 500 00:22:00,425 --> 00:22:03,887 You're sitting right by him. Front row seats. 501 00:22:03,887 --> 00:22:05,013 Yeah. 502 00:22:05,013 --> 00:22:07,098 What was the energy in the room like? 503 00:22:07,098 --> 00:22:08,474 The energy was great. It was all‐‐ 504 00:22:08,474 --> 00:22:10,143 Were people dancing or‐‐ Yeah. 505 00:22:10,143 --> 00:22:11,060 Yeah. Yeah. 506 00:22:11,060 --> 00:22:14,814 When he came on and his band kicked in, whoa. 507 00:22:14,814 --> 00:22:16,816 I still remember the riff. 508 00:22:16,816 --> 00:22:19,986 ♪♪ playing ITT on piano ♪♪ 509 00:22:19,986 --> 00:22:23,072 ♪♪ 510 00:22:30,538 --> 00:22:31,372 So cool. 511 00:22:32,123 --> 00:22:33,416 And his whole band kicked in. 512 00:22:33,416 --> 00:22:38,630 ♪♪ 513 00:22:39,714 --> 00:22:41,507 So there was Fela at the front 514 00:22:41,507 --> 00:22:43,551 with a little (indiscernible) piano. 515 00:22:44,302 --> 00:22:48,139 And the middle, at the back, he's got two conga players. 516 00:22:48,598 --> 00:22:50,433 They're like the rhythm box. RICK: Yeah. 517 00:22:50,433 --> 00:22:53,436 They're just going... (imitating congas) 518 00:22:53,436 --> 00:22:54,729 They're keeping that same rhythm. 519 00:22:55,355 --> 00:22:58,233 This side and that side, like stereo, 520 00:22:58,233 --> 00:23:01,319 and he's got the shakers... (imitating shakers) 521 00:23:02,904 --> 00:23:04,906 And the drummer, he would go‐‐ 522 00:23:04,906 --> 00:23:08,535 (imitating drums) 523 00:23:08,535 --> 00:23:09,661 RICK: Fills. 524 00:23:09,661 --> 00:23:11,329 Kind of fills. Yeah. Yeah. 525 00:23:11,329 --> 00:23:12,455 PAUL: Two guitars. 526 00:23:12,455 --> 00:23:14,123 One's the tenor guitar, 527 00:23:14,123 --> 00:23:16,376 and the other one's a little bit more lead guitar. 528 00:23:16,834 --> 00:23:18,002 Then he's got his sax section. 529 00:23:18,795 --> 00:23:20,004 (imitating sax) 530 00:23:20,004 --> 00:23:23,550 ♪♪ 531 00:23:23,550 --> 00:23:27,554 The music was so incredible that I wept, 532 00:23:28,805 --> 00:23:30,807 just when it hit on the groove. 533 00:23:30,807 --> 00:23:35,812 ♪♪ 534 00:23:38,857 --> 00:23:42,569 That was one of the greatest music moments in my life. 535 00:23:42,569 --> 00:23:45,238 Yeah. Yeah. It sounds incredible. Hearing that song live. 536 00:23:47,657 --> 00:23:48,825 Beautiful. 537 00:23:48,825 --> 00:23:50,743 I'm going to play something else, 538 00:23:50,743 --> 00:23:52,662 a very different energy. 539 00:23:53,913 --> 00:23:55,331 (Paul humming) 540 00:23:55,331 --> 00:23:57,458 What you got now? I've got this one. 541 00:23:59,210 --> 00:24:00,545 It will be fun to hear. 542 00:24:02,171 --> 00:24:04,090 PAUL: (on recording) ♪♪ Don't go ♪♪ 543 00:24:04,090 --> 00:24:08,511 ♪♪ Jumping waterfalls ♪♪ 544 00:24:09,387 --> 00:24:14,934 ♪♪ Please keep to the lake ♪♪ 545 00:24:14,934 --> 00:24:16,644 It's a pretty little song this. Yeah. 546 00:24:17,562 --> 00:24:19,272 He said modestly. (Rick chuckles) 547 00:24:19,272 --> 00:24:22,025 ♪♪ People who jump waterfalls ♪♪ 548 00:24:22,025 --> 00:24:27,989 ♪♪ Sometimes can make mistakes ♪♪ 549 00:24:29,032 --> 00:24:31,284 ♪♪ And I need love ♪♪ 550 00:24:31,284 --> 00:24:34,996 This is also, even though it's not an electronic song, 551 00:24:34,996 --> 00:24:37,624 this melody is very today. 552 00:24:37,624 --> 00:24:39,667 This is a very modern melody. You think so? 553 00:24:39,667 --> 00:24:40,960 I know so. 554 00:24:40,960 --> 00:24:43,463 It's like un‐It doesn't‐‐ 555 00:24:43,463 --> 00:24:46,007 This sounds like you could hear this now 556 00:24:46,841 --> 00:24:48,426 in an unusual way. 557 00:24:49,385 --> 00:24:52,889 ♪♪ And it wouldn't be the same ♪♪ 558 00:24:52,889 --> 00:24:56,017 ♪♪ If you ever should decide ♪♪ 559 00:24:56,434 --> 00:25:00,355 ♪♪ To go away ♪♪ 560 00:25:01,022 --> 00:25:04,692 ♪♪ 561 00:25:05,193 --> 00:25:08,655 It kind of did get lost on the album, 562 00:25:08,655 --> 00:25:12,408 but sort of deep fans know that one. Yeah. 563 00:25:12,408 --> 00:25:14,786 Yes. And often write to me about it. 564 00:25:15,370 --> 00:25:18,706 Yeah, yeah. I think I slightly regretted 565 00:25:18,706 --> 00:25:21,125 that the strings on it 566 00:25:21,125 --> 00:25:23,753 are just a little weedy, synth little things. 567 00:25:23,753 --> 00:25:25,630 I think that might be part what makes it modern, though. 568 00:25:25,630 --> 00:25:27,131 Maybe. Well‐‐ 569 00:25:27,131 --> 00:25:28,758 Do you know, it's like‐‐ I don't know. It's the‐ 570 00:25:28,758 --> 00:25:30,677 Hey, you know, the thing is I can have regrets. 571 00:25:30,677 --> 00:25:31,719 They don't have to be right. 572 00:25:31,719 --> 00:25:33,388 (Rick laughs) Do you know what I'm saying? 573 00:25:33,388 --> 00:25:35,640 I think all of us, we go, "Oh, we should've done that." 574 00:25:35,640 --> 00:25:37,100 Yeah. Somebody else will say, "No. 575 00:25:37,850 --> 00:25:39,978 You don't need to. That‐that's fine." So... 576 00:25:39,978 --> 00:25:42,939 But I don't see you as someone, as having a lot of regrets, 577 00:25:42,939 --> 00:25:44,357 looking back on music that you made. 578 00:25:44,357 --> 00:25:45,483 Not really. No. 579 00:25:46,526 --> 00:25:47,902 Forge ahead. 580 00:25:47,902 --> 00:25:49,112 Yeah. Constantly. 581 00:25:49,445 --> 00:25:50,446 And, um, 582 00:25:51,447 --> 00:25:52,657 well, that's what I love. 583 00:25:53,449 --> 00:25:55,118 That's what I love about it. Yeah. 584 00:25:55,118 --> 00:25:56,995 Music. Life. 585 00:25:57,745 --> 00:26:01,207 That there's, there's always that next little song... 586 00:26:01,207 --> 00:26:02,041 Yeah. 587 00:26:02,041 --> 00:26:05,211 that you can be thinking about or writing. 588 00:26:05,587 --> 00:26:07,714 ♪♪ soft melody ♪♪ 589 00:26:07,714 --> 00:26:09,382 You know, I'm writing a thing at the moment. 590 00:26:09,382 --> 00:26:12,886 ♪♪ mid‐tempo music playing ♪♪ 591 00:26:12,886 --> 00:26:15,471 ♪♪ 592 00:26:15,471 --> 00:26:16,306 RICK: Oh. 593 00:26:18,266 --> 00:26:19,058 That's great. 594 00:26:19,601 --> 00:26:20,476 That's great. 595 00:26:20,476 --> 00:26:22,437 ♪♪ 596 00:26:28,860 --> 00:26:30,570 ♪♪ Life can be hard ♪♪ 597 00:26:31,696 --> 00:26:32,822 ♪♪ But then ♪♪ 598 00:26:32,822 --> 00:26:34,699 So good. ♪♪ That's when we start ♪♪ 599 00:26:35,283 --> 00:26:38,203 ♪♪ To put it together again ♪♪ 600 00:26:39,495 --> 00:26:41,122 ♪♪ She leads me on ♪♪ 601 00:26:41,122 --> 00:26:42,248 Yeah. 602 00:26:42,248 --> 00:26:45,877 ♪♪ And I'm enchanted by her beauty ♪♪ 603 00:26:45,877 --> 00:26:49,631 ♪♪ 604 00:26:49,631 --> 00:26:50,423 Yeah. 605 00:26:52,175 --> 00:26:53,259 Incredible. 606 00:26:53,259 --> 00:26:54,844 Oh good, man. Oh great. Really good. 607 00:26:54,844 --> 00:26:57,847 I goofed it a bit, but‐‐ No, but it sounds like it‐‐ 608 00:26:57,847 --> 00:27:00,099 The beauty of it is, when I hear it, it sounds like, 609 00:27:00,099 --> 00:27:02,060 "Oh, this is a song that's always been around." 610 00:27:02,060 --> 00:27:04,062 You know like it‐In a good way. Like "You know this one." 611 00:27:04,062 --> 00:27:05,772 But not in a way that I've actually heard it before, 612 00:27:05,772 --> 00:27:08,775 but in a, like, "Oh yeah, this is like one of those songs 613 00:27:08,775 --> 00:27:10,151 that feels like it's in the air." 614 00:27:10,151 --> 00:27:11,569 Yeah. Do you know what I mean? 615 00:27:11,569 --> 00:27:13,655 That's what I've sort of done all my life. 616 00:27:13,655 --> 00:27:15,657 That's what I'm still doing. Yeah. Yeah. 617 00:27:15,657 --> 00:27:19,577 Just trying to discover just a little thing that sounds nice. 618 00:27:20,245 --> 00:27:22,247 Someone said Mozart once said, 619 00:27:22,247 --> 00:27:24,541 "I write the notes that like each other." 620 00:27:25,792 --> 00:27:27,210 And I like that. Yeah. 621 00:27:27,210 --> 00:27:29,254 I like that. Sounds good to me. (laughs) Yeah. Yeah. 622 00:27:30,088 --> 00:27:32,966 ♪♪ playing Blackbird ♪♪ 623 00:27:34,008 --> 00:27:38,596 ♪♪ 624 00:27:38,596 --> 00:27:43,142 ♪♪ Blackbird singing in the dead of night ♪♪ 625 00:27:43,142 --> 00:27:47,105 ♪♪ Take these broken wings and learn to fly ♪♪ 626 00:27:48,398 --> 00:27:51,526 ♪♪ All your life ♪♪ 627 00:27:52,235 --> 00:27:57,490 ♪♪ You were only waiting for this moment to arise ♪♪ 628 00:27:57,490 --> 00:28:01,286 ♪♪ 629 00:28:02,495 --> 00:28:06,291 ♪♪ Blackbird singing in the dead of night ♪♪ 630 00:28:07,041 --> 00:28:11,296 ♪♪ Take these sunken eyes and learn to see ♪♪ 631 00:28:12,255 --> 00:28:15,300 ♪♪ All your life ♪♪ 632 00:28:16,092 --> 00:28:21,097 ♪♪ You were only waiting for this moment to be free ♪♪ 633 00:28:21,097 --> 00:28:25,894 ♪♪ Blackbird fly ♪♪ 634 00:28:26,269 --> 00:28:30,607 ♪♪ Blackbird fly ♪♪ 635 00:28:30,607 --> 00:28:34,569 ♪♪ Into the light of the dark black night ♪♪ 636 00:28:34,569 --> 00:28:37,488 ♪♪ 637 00:28:40,116 --> 00:28:45,997 (humming) 638 00:28:45,997 --> 00:28:51,336 ♪♪ 639 00:28:51,336 --> 00:28:52,337 PAUL: Yeah, right, I know. 640 00:28:53,338 --> 00:28:54,339 (chuckles) 641 00:28:56,925 --> 00:28:58,343 Okay, man, great. 642 00:28:58,843 --> 00:29:02,931 ♪♪ 643 00:29:02,931 --> 00:29:04,682 ♪♪ Night ♪♪ (static cuts out) 644 00:29:04,682 --> 00:29:09,354 ♪♪ Blackbird resumes ♪♪ 645 00:29:09,354 --> 00:29:13,691 ♪♪ 646 00:29:18,696 --> 00:29:23,243 ♪♪ Blackbird fly ♪♪ 647 00:29:23,743 --> 00:29:27,997 ♪♪ Blackbird fly ♪♪ 648 00:29:27,997 --> 00:29:31,876 ♪♪ Into the light of the dark black night ♪♪ 649 00:29:31,876 --> 00:29:34,963 ♪♪ 650 00:29:35,797 --> 00:29:40,468 ♪♪ Blackbird singing in the dead of night ♪♪ 651 00:29:40,468 --> 00:29:43,888 ♪♪ Take these broken wings and learn to fly ♪♪ 652 00:29:45,682 --> 00:29:48,851 ♪♪ All your life ♪♪ 653 00:29:49,561 --> 00:29:54,232 ♪♪ You were only waiting for this moment to arise ♪♪ 654 00:29:54,607 --> 00:30:00,363 ♪♪ You were only waiting for this moment to arise ♪♪