1 00:00:01,814 --> 00:00:07,529 ♪♪ 2 00:00:07,529 --> 00:00:08,446 PAUL McCARTNEY: Yeah. 3 00:00:08,446 --> 00:00:13,159 ♪♪ 4 00:00:13,868 --> 00:00:17,205 We were told that, you'll never make it from Liverpool. 5 00:00:17,830 --> 00:00:19,082 You'll never make it. 6 00:00:19,082 --> 00:00:21,501 Of course, that just strengthened our resolve. 7 00:00:22,168 --> 00:00:23,836 "We'll show you, mate." 8 00:00:23,836 --> 00:00:24,712 You know? Yeah. 9 00:00:24,712 --> 00:00:26,589 We thought we were different. 10 00:00:26,589 --> 00:00:28,049 Yeah. We knew we were different. 11 00:00:28,883 --> 00:00:34,013 And then that, um... found its way into the music. 12 00:00:35,265 --> 00:00:37,725 ♪♪ Lovely Rita playing ♪♪ 13 00:00:37,725 --> 00:00:43,731 ♪♪ Ah ♪♪ 14 00:00:45,233 --> 00:00:50,196 ♪♪ Lovely Rita, meter maid ♪♪ 15 00:00:50,947 --> 00:00:55,827 ♪♪ Lovely Rita, meter maid ♪♪ 16 00:00:56,494 --> 00:00:59,247 PAUL: (on recording) ♪♪ Lovely Rita, meter maid ♪♪ 17 00:00:59,247 --> 00:01:01,958 ♪♪ Nothing can come between us ♪♪ 18 00:01:02,333 --> 00:01:06,045 ♪♪ When it gets dark I tow your heart away ♪♪ 19 00:01:08,006 --> 00:01:10,758 ♪♪ Standing by a parking meter ♪♪ 20 00:01:10,758 --> 00:01:13,386 ♪♪ When I caught a glimpse of Rita ♪♪ 21 00:01:13,386 --> 00:01:16,514 ♪♪ Filling in a ticket in her little white book ♪♪ 22 00:01:16,514 --> 00:01:19,309 ♪♪ In a cap she looked much older ♪♪ 23 00:01:19,309 --> 00:01:21,686 ♪♪ And the bag across her shoulder ♪♪ 24 00:01:21,686 --> 00:01:24,522 ♪♪ Made her look a little like a military man ♪♪ 25 00:01:24,522 --> 00:01:27,483 ♪♪ Paul humming music ♪♪ 26 00:01:27,984 --> 00:01:29,819 PAUL: Hm. RICK RUBIN: It's just so interesting. 27 00:01:29,819 --> 00:01:32,197 The choices you're making in the playing. 28 00:01:32,197 --> 00:01:37,076 ♪♪ 29 00:01:37,076 --> 00:01:38,786 I think the bass is really straight. 30 00:01:38,786 --> 00:01:40,121 Pretty straight, yeah. 31 00:01:42,332 --> 00:01:43,750 I come in and ruin it. 32 00:01:45,168 --> 00:01:46,628 Good thing you wrote it. 33 00:01:46,628 --> 00:01:49,672 ♪♪ Lovely Rita, meter maid ♪♪ 34 00:01:49,672 --> 00:01:52,508 ♪♪ Where would I be without you? ♪♪ 35 00:01:52,508 --> 00:01:55,970 ♪♪ Give us a wink and make me think of you ♪♪ 36 00:01:55,970 --> 00:02:00,141 ♪♪ Lovely Rita meter maid ♪♪ 37 00:02:00,808 --> 00:02:05,355 ♪♪ Lovely Rita meter maid ♪♪ 38 00:02:05,647 --> 00:02:07,941 It feels almost like the bass is doing 39 00:02:07,941 --> 00:02:10,109 like what an orchestra would do, you know. 40 00:02:10,109 --> 00:02:13,571 It's adding all of the other counterpoint... 41 00:02:13,571 --> 00:02:15,240 Yeah. ...and extra rhythm. 42 00:02:15,240 --> 00:02:17,825 But then when the vocal comes in, I get out the way. 43 00:02:17,825 --> 00:02:20,119 (humming) 44 00:02:20,119 --> 00:02:21,913 But then I come back, I'm too tempted‐‐ 45 00:02:21,913 --> 00:02:23,498 (rapid humming) Yeah, yeah. 46 00:02:23,498 --> 00:02:26,751 But, uh, I like doing that, you know. 47 00:02:26,751 --> 00:02:28,378 You started as a guitar player though. 48 00:02:28,962 --> 00:02:32,882 Yeah, me and John were the guitar players. Yeah. 49 00:02:33,883 --> 00:02:37,178 I used to think I could be lead guitar. 50 00:02:37,178 --> 00:02:37,929 Yeah. 51 00:02:37,929 --> 00:02:40,390 Because at home, I could, I could play nice little songs. 52 00:02:40,390 --> 00:02:45,061 But I got terrible stage fright at a place in Liverpool 53 00:02:45,061 --> 00:02:48,606 um, called Broadway, funnily enough. 54 00:02:49,065 --> 00:02:51,818 Oh, it just came my time to play the solo 55 00:02:51,818 --> 00:02:53,194 and I, aah, 56 00:02:53,194 --> 00:02:54,445 I, like, froze, you know, 57 00:02:54,445 --> 00:02:57,782 sticky fingers and nothing would work. 58 00:02:57,782 --> 00:03:00,410 And after that, I thought, right, no more lead. 59 00:03:00,910 --> 00:03:03,371 That's it, you know, we'll give that to somebody else. 60 00:03:03,371 --> 00:03:03,955 Wow. 61 00:03:03,955 --> 00:03:07,458 But yeah, I did start on guitar, originally acoustic, 62 00:03:07,458 --> 00:03:09,586 and then, uh, when we went to Hamburg, 63 00:03:09,586 --> 00:03:12,797 I bought a little electric guitar, very cheap. 64 00:03:12,797 --> 00:03:14,048 But it looked good. Yeah. 65 00:03:14,048 --> 00:03:15,425 Looked kind of rock and roll. 66 00:03:15,425 --> 00:03:16,801 Kind of red thing, 67 00:03:16,801 --> 00:03:18,428 Rosetti Lucky 7. 68 00:03:19,220 --> 00:03:20,597 But it was terrible. 69 00:03:20,597 --> 00:03:23,391 But I could‐you know, it worked until we got to Hamburg 70 00:03:23,391 --> 00:03:25,018 and then it fell apart. 71 00:03:25,643 --> 00:03:28,396 So then I would, I was turning my back on the audience 72 00:03:28,396 --> 00:03:29,480 and playing piano. 73 00:03:30,064 --> 00:03:31,608 But it was good. Good practice. 74 00:03:32,525 --> 00:03:34,652 For a bass player, we had Stuart, 75 00:03:34,652 --> 00:03:36,821 who was a friend of John's from art school, 76 00:03:37,405 --> 00:03:39,949 but he ended up wanting to stay in Hamburg 77 00:03:39,949 --> 00:03:41,117 because he fell in love. 78 00:03:41,534 --> 00:03:45,705 So then it was a question of me, John, or George becoming the bass player, 79 00:03:45,705 --> 00:03:47,665 and the two of them said, well, I'm not doing it. 80 00:03:47,665 --> 00:03:50,126 (both laugh) 81 00:03:50,126 --> 00:03:51,878 So it was‐I was left. 82 00:03:51,878 --> 00:03:54,088 Were you already writing songs at this point or not really? 83 00:03:54,088 --> 00:03:55,298 Yeah. Yeah. 84 00:03:55,298 --> 00:03:56,758 Even from the Hamburg days? 85 00:03:56,758 --> 00:03:58,009 Before. 86 00:03:58,009 --> 00:03:59,260 Really? Yeah. 87 00:03:59,260 --> 00:04:02,055 I wrote, um, my first one when I was like 14. 88 00:04:02,055 --> 00:04:02,680 Wow. 89 00:04:02,680 --> 00:04:05,475 And that was just a little, little guitar thing. 90 00:04:06,226 --> 00:04:07,685 Uh, do you want me to show you? Yes. 91 00:04:07,685 --> 00:04:08,561 Okay. Let's go. 92 00:04:08,561 --> 00:04:10,188 I will find a guitar. 93 00:04:12,023 --> 00:04:15,527 ♪♪ 94 00:04:15,527 --> 00:04:18,655 Yeah, I liked the idea that the baseline would go up. 95 00:04:18,655 --> 00:04:21,741 ♪♪ 96 00:04:21,741 --> 00:04:23,535 Then I wanted this to come down. 97 00:04:23,535 --> 00:04:28,206 ♪♪ 98 00:04:28,206 --> 00:04:31,376 So you get that little thing. That was the big thing for me. 99 00:04:31,376 --> 00:04:32,502 Yeah. So it was just‐‐ 100 00:04:32,502 --> 00:04:35,088 ♪♪ I woke up late this morning ♪♪ 101 00:04:35,088 --> 00:04:37,173 ♪♪ My head was in a whirl ♪♪ 102 00:04:38,091 --> 00:04:40,718 ♪♪ Only then I realized ♪♪ 103 00:04:40,718 --> 00:04:42,345 ♪♪ I lost my little girl ♪♪ 104 00:04:42,345 --> 00:04:44,597 ♪♪ Her clothes were not expensive ♪♪ 105 00:04:45,306 --> 00:04:47,433 ♪♪ Her hair didn't always curl ♪♪ 106 00:04:48,351 --> 00:04:51,145 ♪♪ Ah, ah, ah, ah, ah ♪♪ 107 00:04:51,145 --> 00:04:54,232 ♪♪ 108 00:04:55,441 --> 00:04:58,278 But it is interesting, the first song I should write 109 00:04:58,278 --> 00:05:01,155 has got a little contra vocal thing going. 110 00:05:01,155 --> 00:05:01,990 Absolutely. 111 00:05:01,990 --> 00:05:03,783 I'm fingering down on that‐‐ 112 00:05:03,783 --> 00:05:06,244 Two parts going on at the same time right out of the box. 113 00:05:06,244 --> 00:05:09,038 Yeah. Unusual for a young kid. 114 00:05:09,038 --> 00:05:10,874 Yeah. You know, and it's a funny thing 115 00:05:10,874 --> 00:05:12,834 as you get older, you think, 116 00:05:12,834 --> 00:05:14,752 well, how did I know that? 117 00:05:14,752 --> 00:05:17,422 Yes. And I, I haven't got an answer. 118 00:05:17,422 --> 00:05:20,425 ♪♪ vocalizing ♪♪ 119 00:05:20,425 --> 00:05:25,179 ♪♪ 120 00:05:25,805 --> 00:05:31,144 ♪♪ 121 00:05:33,563 --> 00:05:35,690 When John and I had got together 122 00:05:35,690 --> 00:05:39,652 and I told him about that little song that I'd written, 123 00:05:39,652 --> 00:05:41,196 and I'd written a couple of others. 124 00:05:41,196 --> 00:05:42,530 And he said, so have I. 125 00:05:43,198 --> 00:05:45,742 And that was, that was the big difference. 126 00:05:45,742 --> 00:05:47,452 I talked to other people, 127 00:05:47,452 --> 00:05:49,162 and they sort of said, "Well, what do you do?" 128 00:05:49,162 --> 00:05:50,371 I said, "Oh, I've got a hobby, 129 00:05:50,371 --> 00:05:53,041 I kind of, I've written a couple of songs." 130 00:05:53,041 --> 00:05:56,002 And most people would just ignore that and go, 131 00:05:56,002 --> 00:05:59,005 "Oh okay, you know, what sports do you like," and move on. 132 00:05:59,005 --> 00:06:02,091 But, uh, when I said that to John, he said, "Yeah, so have I." 133 00:06:03,051 --> 00:06:04,928 I said, "Oh yeah, great. 134 00:06:05,511 --> 00:06:07,388 "Well, let me see yours, 135 00:06:07,388 --> 00:06:09,349 I'll show you mine," kind of thing, you know. 136 00:06:09,349 --> 00:06:10,225 And that was it. 137 00:06:10,225 --> 00:06:11,893 We, we started writing together 138 00:06:12,435 --> 00:06:13,686 with that in mind, you know. 139 00:06:15,230 --> 00:06:18,149 ♪♪ This Boy playing ♪♪ 140 00:06:18,149 --> 00:06:21,236 ♪♪ 141 00:06:24,489 --> 00:06:26,824 ♪♪ That boy ♪♪ 142 00:06:26,824 --> 00:06:28,368 You know, we were trying to make money. 143 00:06:28,368 --> 00:06:30,328 We were kind of guys, none of us was rich, 144 00:06:30,328 --> 00:06:34,040 so we would play pubs and ballrooms. 145 00:06:34,457 --> 00:06:38,336 The Aintree Institute would have, like, a dance. 146 00:06:38,336 --> 00:06:39,462 RICK: Hmm. 147 00:06:39,462 --> 00:06:42,257 PAUL: But when we'd got Brian Epstein as our manager, 148 00:06:42,257 --> 00:06:46,511 Brian said, you could play cabaret clubs, 149 00:06:47,554 --> 00:06:49,722 but you'll have to smarten up. Hm. 150 00:06:49,722 --> 00:06:51,766 Because we were a bit rock and roll. Yeah. 151 00:06:51,766 --> 00:06:53,518 He says you'll have to sort of smarten up, 152 00:06:53,518 --> 00:06:56,312 and you'll have to do your more sort of ballady songs. 153 00:06:56,312 --> 00:06:58,815 It can't just be a straight rock and roll set. 154 00:06:58,815 --> 00:06:59,357 Mm‐hmm. 155 00:06:59,858 --> 00:07:01,734 But you could see this at a cabaret club. 156 00:07:01,734 --> 00:07:03,403 Yeah, for sure. 157 00:07:03,403 --> 00:07:07,156 You know, ladies and gentlemen, presenting the Beatles. 158 00:07:07,156 --> 00:07:09,951 (Rick laughs) Lights go down, little spots come up. 159 00:07:09,951 --> 00:07:12,370 ♪♪ Back again ♪♪ 160 00:07:12,370 --> 00:07:13,371 Let's see. 161 00:07:14,122 --> 00:07:15,290 And then we get John's‐‐ 162 00:07:15,290 --> 00:07:18,668 JOHN LENNON: (on recording) ♪♪ Oh, and this boy ♪♪ 163 00:07:19,335 --> 00:07:20,044 RICK: No music. 164 00:07:20,044 --> 00:07:21,963 ♪♪ Would be happy ♪♪ 165 00:07:22,797 --> 00:07:25,133 ♪♪ Just to love you ♪♪ 166 00:07:26,050 --> 00:07:30,138 ♪♪ But oh my ♪♪ 167 00:07:30,138 --> 00:07:31,598 ♪♪ That boy ♪♪ 168 00:07:32,432 --> 00:07:34,684 ♪♪ Won't be happy ♪♪ 169 00:07:36,519 --> 00:07:42,525 (singing along) ♪♪ Till he's seen you cry ♪♪ 170 00:07:43,067 --> 00:07:45,403 ♪♪ This boy ♪♪ 171 00:07:45,403 --> 00:07:47,113 RICK: That was beautiful. Yeah. 172 00:07:47,113 --> 00:07:51,659 ♪♪ Wouldn't mind the pain ♪♪ 173 00:07:51,659 --> 00:07:54,329 ♪♪ 174 00:07:54,329 --> 00:07:58,625 You know, we wanted to, um, show different sides of ourselves. 175 00:07:58,625 --> 00:08:01,586 We could've just been one guy sings the vocal 176 00:08:01,586 --> 00:08:02,962 and we'll back him up. 177 00:08:02,962 --> 00:08:05,882 But we kept wanting to stretch it a little bit. 178 00:08:06,299 --> 00:08:09,052 So this whole song is just a three‐part harmony thing. 179 00:08:09,052 --> 00:08:12,180 ♪♪ This boy ♪♪ 180 00:08:12,180 --> 00:08:15,433 ♪♪ 181 00:08:15,433 --> 00:08:17,727 ♪♪ This boy ♪♪ 182 00:08:18,186 --> 00:08:21,397 Those were exciting things to do, you know, 183 00:08:21,397 --> 00:08:23,441 to, to branch out like that. 184 00:08:24,150 --> 00:08:26,736 Then we wanted to add these other layers, 185 00:08:26,736 --> 00:08:30,073 which as the Beatles went on, we added more and more. 186 00:08:30,073 --> 00:08:34,577 ♪♪ Something playing ♪♪ 187 00:08:34,577 --> 00:08:38,998 GEORGE HARRISON: (on recording) ♪♪ Something in the way she moves ♪♪ 188 00:08:42,585 --> 00:08:46,673 ♪♪ Attracts me like no other lover ♪♪ 189 00:08:49,300 --> 00:08:54,055 ♪♪ Something in the way she woos me ♪♪ 190 00:08:56,558 --> 00:08:58,851 ♪♪ I don't want to leave her now ♪♪ 191 00:09:00,144 --> 00:09:01,145 (indiscernible chatter) 192 00:09:01,145 --> 00:09:02,647 ♪♪ You know I believe and how ♪♪ 193 00:09:03,523 --> 00:09:07,527 ♪♪ 194 00:09:07,527 --> 00:09:11,990 ♪♪ Somewhere in her smile she knows ♪♪ 195 00:09:13,533 --> 00:09:15,869 What is going on with the bass? 196 00:09:15,869 --> 00:09:18,121 Like, it's the greatest thing I've ever heard. 197 00:09:18,121 --> 00:09:20,331 Oh. How did this happen? 198 00:09:20,331 --> 00:09:22,125 I mean‐‐ How does this exist? 199 00:09:22,625 --> 00:09:25,545 It's very tempting when you're on the bass to sort of go‐‐ 200 00:09:25,545 --> 00:09:31,009 (imitating bass guitar) 201 00:09:31,384 --> 00:09:33,219 And I probably started simple. 202 00:09:33,219 --> 00:09:34,637 (imitating bass guitar) Yeah. 203 00:09:35,221 --> 00:09:38,933 And then you might find that the bit we were kind of liking, 204 00:09:38,933 --> 00:09:40,476 it's a nice little melody. 205 00:09:40,476 --> 00:09:44,898 ♪♪ 206 00:09:44,898 --> 00:09:48,401 ♪♪ You're asking me will my love grow ♪♪ 207 00:09:49,027 --> 00:09:50,862 It's doing so much work 208 00:09:50,862 --> 00:09:54,991 that really is in the service of the record. 209 00:09:55,408 --> 00:09:57,911 It's pretty adventurous, you know. 210 00:09:57,911 --> 00:10:00,205 Did you have that all worked out before the‐‐ 211 00:10:00,205 --> 00:10:01,122 No. 212 00:10:01,789 --> 00:10:03,875 So tell me what happens the day of this recording. 213 00:10:03,875 --> 00:10:05,210 What happens? 214 00:10:05,210 --> 00:10:09,422 Um... George comes in, shows us the song. 215 00:10:09,881 --> 00:10:12,634 That would just be with a guitar and all just 'round, 216 00:10:13,259 --> 00:10:15,428 a couple of chairs 'round a little circle. 217 00:10:16,346 --> 00:10:18,598 It was all fairly instant. Yeah. 218 00:10:18,598 --> 00:10:21,017 You know, it's just we've got to do this song. 219 00:10:21,017 --> 00:10:24,145 We've got to do it. Let's just try it every which way, 220 00:10:24,145 --> 00:10:26,856 until we settle on, oh yeah, this feels good. 221 00:10:27,690 --> 00:10:29,150 It's the interaction. 222 00:10:30,443 --> 00:10:31,486 Yeah. 223 00:10:31,486 --> 00:10:33,947 ♪♪ 224 00:10:33,947 --> 00:10:36,157 (humming) 225 00:10:36,908 --> 00:10:37,617 Yeah. 226 00:10:37,617 --> 00:10:39,786 ♪♪ 227 00:10:52,257 --> 00:10:53,841 ♪♪ song ends ♪♪ 228 00:10:53,841 --> 00:10:55,301 Classic George song. 229 00:10:55,301 --> 00:10:57,470 Alright. (claps) 230 00:10:57,470 --> 00:11:00,723 Do you remember after finishing the song, thinking‐‐ 231 00:11:01,933 --> 00:11:03,518 It's a good one. Did you feel that? 232 00:11:03,518 --> 00:11:07,230 Oh yeah. Yeah, yeah. I think you know the good songs. 233 00:11:07,230 --> 00:11:08,815 Yeah. Yeah. 234 00:11:08,815 --> 00:11:10,316 Would it be whoever wrote the song 235 00:11:10,316 --> 00:11:12,861 would sort of have the vision for the project for that? 236 00:11:12,861 --> 00:11:14,529 Normally was, yeah. And then I'd butt in. 237 00:11:14,529 --> 00:11:16,281 (laughs) 238 00:11:16,281 --> 00:11:17,699 And they'd hate me for it. 239 00:11:18,199 --> 00:11:20,076 I'd go, "But it's a good idea, boys." 240 00:11:20,076 --> 00:11:22,120 If you had a good idea, it's like‐‐ 241 00:11:22,120 --> 00:11:24,080 Mm‐hmm. Got to get 'em in. 242 00:11:24,080 --> 00:11:25,832 Yeah. Got to get them in. 243 00:11:25,832 --> 00:11:27,625 I mean, it was kind of an awkward thing, you know, 244 00:11:27,625 --> 00:11:30,378 that if you had a good idea for something, 245 00:11:30,378 --> 00:11:31,504 you'd say it. Yeah. 246 00:11:31,504 --> 00:11:34,090 But often the other guy would sort of say, well, you play it. 247 00:11:34,090 --> 00:11:34,924 Yeah. 248 00:11:34,924 --> 00:11:36,342 You know, there was there was a lot of freedom. 249 00:11:36,342 --> 00:11:37,302 Yeah, yeah, yeah. 250 00:11:37,302 --> 00:11:38,887 So we did that a lot. 251 00:11:38,887 --> 00:11:43,516 Like, I think I talked to George a lot about the solo on Taxman. 252 00:11:44,183 --> 00:11:46,477 And I think that's what happened. 253 00:11:46,477 --> 00:11:47,687 He said, "Well, you play it." 254 00:11:47,687 --> 00:11:50,481 ♪♪ Taxman ♪♪ 255 00:11:50,481 --> 00:11:54,444 ♪♪ 256 00:12:04,204 --> 00:12:06,122 No wonder George said you do it. 257 00:12:06,122 --> 00:12:08,124 But what was the insp‐‐ Like, what were you‐‐ 258 00:12:08,124 --> 00:12:10,168 I don't know, just free, free. 259 00:12:10,168 --> 00:12:12,295 I mean, and a little bit of Indian in there, too. 260 00:12:12,295 --> 00:12:13,421 Yeah. 261 00:12:13,421 --> 00:12:16,174 I wouldn't have thought about it or written it or anything. 262 00:12:16,174 --> 00:12:20,011 It would just be like, oh, it's, the track's so cooking... Yeah. 263 00:12:20,011 --> 00:12:22,889 ...that if we're going to have a solo, it should be just ridiculous. 264 00:12:22,889 --> 00:12:26,184 (imitating guitar riff) 265 00:12:26,184 --> 00:12:27,143 Amazing. You know. 266 00:12:27,143 --> 00:12:31,940 ♪♪ Yeah, I'm the Taxman ♪♪ 267 00:12:33,483 --> 00:12:35,026 PAUL: Nice bass lick as well. 268 00:12:35,026 --> 00:12:37,695 ♪♪ If you drive a car, I'll tax the street ♪♪ 269 00:12:37,695 --> 00:12:41,032 ♪♪ If you try to sit, I'll tax your seat ♪♪ 270 00:12:41,032 --> 00:12:44,744 ♪♪ If you get too cold, I'll tax the heat ♪♪ 271 00:12:44,744 --> 00:12:48,873 ♪♪ If you take a walk, I'll tax your feet ♪♪ 272 00:12:49,749 --> 00:12:53,086 It was funny because it was like a double‐edged sword. 273 00:12:53,086 --> 00:12:56,130 People sort of saying, well, couldn't you just play straighter, 274 00:12:56,714 --> 00:12:59,175 you know, and I'm going, I don't know. 275 00:12:59,175 --> 00:13:01,803 I think it lends something doing all this. 276 00:13:01,803 --> 00:13:05,348 I did get sort of reprimanded once or twice, 277 00:13:05,348 --> 00:13:07,767 for just being too busy. Yeah. 278 00:13:07,767 --> 00:13:11,521 But you know, by that time I'd heard James Jamerson. 279 00:13:11,521 --> 00:13:15,650 ♪♪ singing "What's Going On" ♪♪ 280 00:13:16,401 --> 00:13:18,444 ♪♪ 281 00:13:41,759 --> 00:13:42,927 He was great. 282 00:13:42,927 --> 00:13:46,347 He had melodic baselines, and I love that. 283 00:13:46,723 --> 00:13:50,226 It kind of opened my eyes to it. It was like, oh yeah, wow. 284 00:13:50,226 --> 00:13:53,187 Yeah. You can groove, make it move, you know. 285 00:13:53,563 --> 00:13:56,149 Because originally, the bass player 286 00:13:56,149 --> 00:13:59,110 in the groups in Liverpool, it was the fat guy. 287 00:13:59,110 --> 00:14:00,403 (laughs) 288 00:14:00,403 --> 00:14:02,071 And he would just stand at the back‐‐ 289 00:14:02,071 --> 00:14:06,910 (imitating bass guitar) 290 00:14:06,910 --> 00:14:09,412 And the guitar player... (imitating guitar riff) 291 00:14:09,412 --> 00:14:10,997 He had all the fancy stuff. 292 00:14:11,456 --> 00:14:14,000 But later, when I heard people like James Jamerson, 293 00:14:14,667 --> 00:14:16,502 I realized, wow, you can, 294 00:14:17,462 --> 00:14:20,173 you can really do a big thing with a bass. 295 00:14:20,173 --> 00:14:22,800 You can actually control the band with the bass. 296 00:14:22,800 --> 00:14:23,718 It's interesting. 297 00:14:23,718 --> 00:14:27,513 And it's, it's in some ways, is why we're having this conversation is 298 00:14:28,473 --> 00:14:30,558 the fascination with how important the bass is 299 00:14:30,558 --> 00:14:32,644 in the context of these songs. 300 00:14:32,644 --> 00:14:34,646 And the songs are so ubiquitous in our culture 301 00:14:34,646 --> 00:14:36,731 that we don't really think of them in pieces. 302 00:14:36,731 --> 00:14:37,690 Hm. Do you know what I mean? 303 00:14:37,690 --> 00:14:40,151 We just think of them as that song. 304 00:14:40,151 --> 00:14:41,277 That song, yeah. You know. Yeah, yeah. 305 00:14:41,277 --> 00:14:44,113 It really happened quite organically in the studio. 306 00:14:44,614 --> 00:14:48,493 Um... you know, my famous occasion 307 00:14:48,493 --> 00:14:50,954 with bass radically altering 308 00:14:51,746 --> 00:14:56,209 the whole attitude of the song was when John came in‐‐ 309 00:14:56,209 --> 00:15:00,547 ♪♪ 310 00:15:00,547 --> 00:15:01,798 ♪♪ Here come old flat‐top ♪♪ 311 00:15:01,798 --> 00:15:03,841 ♪♪ He come groovin' up slowly ♪♪ 312 00:15:03,841 --> 00:15:05,927 ♪♪ He got joo joo eyeball ♪♪ 313 00:15:05,927 --> 00:15:08,805 ♪♪ He one holy roller, he got‐♪♪ 314 00:15:08,805 --> 00:15:10,974 I said, uh, uh, uh, uh, wait a minute, wait a minute, 315 00:15:11,474 --> 00:15:12,892 that's a Chuck Berry song. 316 00:15:13,393 --> 00:15:14,894 That's a Chuck Berry song, 317 00:15:14,894 --> 00:15:16,604 which is called You Can't Catch Me. 318 00:15:17,355 --> 00:15:18,857 Which not only is like that‐‐ 319 00:15:18,857 --> 00:15:20,358 ♪♪ 320 00:15:20,358 --> 00:15:21,818 ♪♪ Yeah, come on ♪♪ 321 00:15:22,610 --> 00:15:25,405 The opening line is, "Here come old flat‐top." 322 00:15:25,989 --> 00:15:27,490 ♪♪ Here come old flat‐top ♪♪ 323 00:15:27,490 --> 00:15:29,158 ♪♪ He was moving up with me ♪♪ 324 00:15:29,158 --> 00:15:30,952 ♪♪ Then come waving goodbye ♪♪ 325 00:15:30,952 --> 00:15:32,787 ♪♪ In a little old souped‐up jitney ♪♪ 326 00:15:32,787 --> 00:15:34,831 ♪♪ I put my foot in my tank ♪♪ 327 00:15:34,831 --> 00:15:36,958 ♪♪ And I began to roll ♪♪ 328 00:15:37,584 --> 00:15:40,837 ♪♪ Moaning siren, 'twas a state patrol ♪♪ 329 00:15:40,837 --> 00:15:42,839 ♪♪ So I let out my wings ♪♪ 330 00:15:42,839 --> 00:15:45,008 ♪♪ And then I blew my horn ♪♪ 331 00:15:45,508 --> 00:15:48,553 ♪♪ Bye‐bye New Jersey, I've become airborne ♪♪ 332 00:15:49,470 --> 00:15:50,889 RICK: It actually is the Chuck Berry song. 333 00:15:50,889 --> 00:15:53,808 It actually is the Chuck Berry song, so I said, "Oh man," 334 00:15:53,808 --> 00:15:56,853 I said, you know, "Look, it's a great song. I love it." 335 00:15:56,853 --> 00:15:59,689 I said, "But we got to do something to get away from that." 336 00:16:00,190 --> 00:16:02,567 So I just suggested we slowed it down. 337 00:16:02,567 --> 00:16:03,526 So instead of the‐‐ 338 00:16:03,526 --> 00:16:05,778 ♪♪ up‐tempo music playing ♪♪ 339 00:16:05,778 --> 00:16:09,407 We go... (humming Come Together) 340 00:16:09,407 --> 00:16:13,953 ♪♪ Come Together playing ♪♪ 341 00:16:14,329 --> 00:16:16,164 (imitating drum beats) 342 00:16:16,164 --> 00:16:20,835 Which now gave it a kind of real nice swampy back and forth. 343 00:16:20,835 --> 00:16:23,504 ♪♪ Here come old flat top he got ♪♪ 344 00:16:23,504 --> 00:16:25,632 And it changed his attitude to it. 345 00:16:26,049 --> 00:16:30,720 ♪♪ Come Together playing ♪♪ 346 00:16:30,720 --> 00:16:32,430 I just want to hear the vocals, 347 00:16:32,430 --> 00:16:35,016 just to understand where it's... the writing style. 348 00:16:35,016 --> 00:16:36,809 JOHN LENNON: (on recording) ♪♪ Here come old flat top ♪♪ 349 00:16:36,809 --> 00:16:39,729 ♪♪ He come grooving up slowly ♪♪ 350 00:16:39,729 --> 00:16:42,690 ♪♪ He got joo joo eyeball ♪♪ 351 00:16:42,690 --> 00:16:45,652 ♪♪ He one holy roller ♪♪ 352 00:16:45,652 --> 00:16:48,863 ♪♪ He got hair down ♪♪ 353 00:16:49,239 --> 00:16:51,115 ♪♪ To his knee ♪♪ 354 00:16:52,200 --> 00:16:56,913 ♪♪ Got to be a joker he just do what he please ♪♪ 355 00:16:57,872 --> 00:17:00,041 ♪♪ 356 00:17:00,041 --> 00:17:01,167 The signature of the song. 357 00:17:01,167 --> 00:17:04,629 ♪♪ 358 00:17:04,629 --> 00:17:05,505 Ringo. 359 00:17:05,505 --> 00:17:09,175 ♪♪ 360 00:17:09,175 --> 00:17:11,386 It's just the bass and the drums. It's a groove, isn't it? 361 00:17:11,386 --> 00:17:15,223 ♪♪ 362 00:17:18,726 --> 00:17:20,436 ♪♪ ...Ono sideboard ♪♪ 363 00:17:21,020 --> 00:17:22,981 ♪♪ ...spinal cracker ♪♪ 364 00:17:22,981 --> 00:17:24,065 ♪♪ He got‐♪♪ 365 00:17:24,065 --> 00:17:25,149 PAUL: Yeah. 366 00:17:25,149 --> 00:17:30,738 ♪♪ 367 00:17:30,738 --> 00:17:34,534 ♪♪ ...in his armchair you can feel his disease ♪♪ 368 00:17:34,534 --> 00:17:36,244 (singing along) ♪♪ Come together ♪♪ 369 00:17:37,453 --> 00:17:38,955 ♪♪ Right now ♪♪ 370 00:17:41,165 --> 00:17:43,543 ♪♪ 371 00:17:43,543 --> 00:17:44,711 PAUL: That's it. 372 00:17:45,253 --> 00:17:47,046 I'm playing that piano. 373 00:17:49,132 --> 00:17:52,552 ♪♪ 374 00:17:56,055 --> 00:17:56,973 Guitars. 375 00:17:57,724 --> 00:18:02,395 ♪♪ 376 00:18:02,395 --> 00:18:03,938 That's John and George. 377 00:18:04,981 --> 00:18:07,901 RICK: Together? PAUL: Both. No, that's George. 378 00:18:10,445 --> 00:18:11,905 John's probably playing the rhythm. 379 00:18:11,905 --> 00:18:13,698 Yeah, John's playing the rhythm, yeah. 380 00:18:14,407 --> 00:18:17,994 ♪♪ 381 00:18:24,417 --> 00:18:25,418 ♪♪ Yeah ♪♪ 382 00:18:25,418 --> 00:18:27,670 ♪♪ 383 00:18:27,670 --> 00:18:29,088 ♪♪ Come together ♪♪ 384 00:18:29,756 --> 00:18:33,426 ♪♪ 385 00:18:35,678 --> 00:18:37,180 Bass sounds incredible. Yeah. 386 00:18:39,557 --> 00:18:41,017 Really rockin'. 387 00:18:42,227 --> 00:18:46,314 ♪♪ 388 00:18:47,106 --> 00:18:49,859 And we sort of knew we'd got something funky. 389 00:18:49,859 --> 00:18:51,486 Yeah. And that was always the aim. 390 00:18:51,486 --> 00:18:54,906 Like, if you could take whatever the little song was you had 391 00:18:54,906 --> 00:18:58,159 and just put that little extra something on it. 392 00:18:58,159 --> 00:19:00,828 Did it feel like it happened most of the time? 393 00:19:01,704 --> 00:19:02,997 Yeah. It seems like it. 394 00:19:02,997 --> 00:19:04,749 Lis‐listening to the records, it sounds like that. 395 00:19:04,749 --> 00:19:05,875 I know. Yeah. 396 00:19:06,417 --> 00:19:10,922 I mean, for me, I've grown to be a fan of the Beatles. 397 00:19:10,922 --> 00:19:13,216 Yeah. Yeah. Because then I was just a Beatle. 398 00:19:13,633 --> 00:19:17,679 But now that the Beatles' volume of work is finished... 399 00:19:17,679 --> 00:19:18,930 Yes. 400 00:19:18,930 --> 00:19:20,598 I, I listen back to it, 401 00:19:20,598 --> 00:19:24,435 and, you know, like that you just think, what was that bassline? 402 00:19:24,852 --> 00:19:27,146 Now this is good because I actually, now I know‐‐ 403 00:19:27,146 --> 00:19:29,399 Now you understand how it works. Now I know what I played, yeah. 404 00:19:29,399 --> 00:19:30,441 Yeah, yeah. 405 00:19:33,653 --> 00:19:36,781 You talked a little bit about becoming a fan of the Beatles again. 406 00:19:36,781 --> 00:19:38,867 Yeah. So tell me first about, 407 00:19:38,867 --> 00:19:40,285 Beatles break up. 408 00:19:40,285 --> 00:19:41,953 Mm. In that moment, 409 00:19:42,328 --> 00:19:45,665 what's your feeling about your last ten years of music? 410 00:19:46,291 --> 00:19:48,710 I knew we'd done something great. 411 00:19:48,710 --> 00:19:51,754 Yes. We'd had a lot of fun in the studio, 412 00:19:51,754 --> 00:19:54,340 and I was sad to see it break up. Yeah. 413 00:19:54,340 --> 00:19:56,342 I thought I'd be in this band forever. 414 00:19:56,342 --> 00:19:57,594 Hm. 415 00:19:57,594 --> 00:19:59,012 But various things were happening. 416 00:19:59,012 --> 00:20:01,055 There was a lot of heavy business stuff 417 00:20:01,055 --> 00:20:03,433 that had, that had influenced decisions. 418 00:20:03,433 --> 00:20:05,727 Mm‐hmm. So we, we split up, 419 00:20:05,727 --> 00:20:09,814 and, uh, I was heartbroken, really. 420 00:20:10,690 --> 00:20:12,942 And I kind of disappeared off the face of the Earth. 421 00:20:12,942 --> 00:20:15,570 I went up to a farm in Scotland 422 00:20:15,945 --> 00:20:20,408 and just became a sort of hippie farmer, which was great. 423 00:20:20,408 --> 00:20:22,744 ♪♪ Motorcars ♪♪ 424 00:20:22,744 --> 00:20:24,579 ♪♪ Handlebars ♪♪ 425 00:20:24,579 --> 00:20:27,457 ♪♪ Bicycles for two ♪♪ 426 00:20:28,583 --> 00:20:33,254 ♪♪ Broken‐hearted jubilee ♪♪ 427 00:20:37,425 --> 00:20:40,345 When you've been a musician all that time, 428 00:20:41,054 --> 00:20:46,351 the idea of just not doing it was a bit sad. 429 00:20:47,602 --> 00:20:49,896 I just wanted to keep going with music. 430 00:20:49,896 --> 00:20:50,563 Yeah. 431 00:20:50,563 --> 00:20:52,899 You know, it was a very difficult thing to shake off 432 00:20:53,274 --> 00:20:56,194 if you're this invested like you and I are. 433 00:20:56,194 --> 00:20:56,945 Yeah. 434 00:20:56,945 --> 00:20:58,696 You just can't sort of say, oh, I'll do it tomorrow. 435 00:20:58,696 --> 00:21:00,615 Can't imagine it. Can't imagine. 436 00:21:00,615 --> 00:21:05,870 So I just went right back to basics, and it wasn't easy. 437 00:21:05,870 --> 00:21:08,373 ♪♪ 438 00:21:08,373 --> 00:21:11,960 ♪♪ Da, da, ya, da, da, da da, da, da ♪♪ 439 00:21:12,418 --> 00:21:13,753 Never finished the lyrics. 440 00:21:15,213 --> 00:21:16,631 No, this is jazz. 441 00:21:16,631 --> 00:21:18,132 (laughing) 442 00:21:19,467 --> 00:21:22,220 I had some recording equipment at home. 443 00:21:22,554 --> 00:21:26,224 I had an amp, guitar, piano, a little drum set. 444 00:21:26,891 --> 00:21:30,144 So I just thought, well, I'll just record some stuff, you know. 445 00:21:30,144 --> 00:21:33,022 And literally yourself, meaning not even an engineer. 446 00:21:33,022 --> 00:21:35,233 Nobody was there except you. No. Nobody. 447 00:21:35,233 --> 00:21:39,153 ♪♪ ...the junk in the yard ♪♪ 448 00:21:40,071 --> 00:21:44,993 ♪♪ Da, da, ya, da, da, da da, da, da ♪♪ 449 00:21:44,993 --> 00:21:46,369 ♪♪ 450 00:21:46,369 --> 00:21:47,287 Wow. 451 00:21:47,287 --> 00:21:50,164 ♪♪ 452 00:21:53,626 --> 00:21:56,588 ♪♪ song ends ♪♪ 453 00:21:56,588 --> 00:21:58,131 Beautiful. 454 00:21:58,131 --> 00:22:01,217 This was the first album that you made in this way. 455 00:22:01,217 --> 00:22:02,677 Everything at home, all by yourself. 456 00:22:02,677 --> 00:22:03,428 Yeah. 457 00:22:03,428 --> 00:22:05,096 I mean, once you do something like this, 458 00:22:05,096 --> 00:22:07,223 it's a nice little home project. 459 00:22:07,223 --> 00:22:08,099 Yeah. 460 00:22:08,099 --> 00:22:11,227 It's like, you know, if you've built a table, 461 00:22:11,227 --> 00:22:13,938 you've got some time off, I'll build a chair, something. 462 00:22:13,938 --> 00:22:18,234 You know, it's just that good feeling you're doing something for yourself. 463 00:22:18,234 --> 00:22:19,027 Yeah. 464 00:22:19,027 --> 00:22:21,946 But then, you know, you've suddenly got 465 00:22:21,946 --> 00:22:23,698 enough tracks for an album. 466 00:22:23,698 --> 00:22:28,494 ♪♪ Maybe I'm Amazed playing ♪♪ 467 00:22:28,494 --> 00:22:32,665 ♪♪ 468 00:22:46,554 --> 00:22:51,309 PAUL: (on recording) ♪♪ Baby, I'm amazed at the way you love me all the time ♪♪ 469 00:22:52,727 --> 00:22:56,356 ♪♪ Maybe I'm afraid of the way I love you ♪♪ 470 00:22:59,025 --> 00:23:03,488 ♪♪ Maybe I'm amazed at the way you pulled me out of time ♪♪ 471 00:23:04,239 --> 00:23:06,449 ♪♪ You hung me on a line ♪♪ 472 00:23:07,575 --> 00:23:11,746 ♪♪ Maybe I'm amazed at the way I really need you ♪♪ 473 00:23:14,415 --> 00:23:17,710 ♪♪ Baby, I'm a man, maybe I'm a lonely man ♪♪ 474 00:23:17,710 --> 00:23:20,088 ♪♪ Who's in the middle of something ♪♪ 475 00:23:20,463 --> 00:23:23,550 ♪♪ That he doesn't really understand ♪♪ 476 00:23:26,511 --> 00:23:29,847 ♪♪ Baby, I'm a man and maybe you're the only woman ♪♪ 477 00:23:29,847 --> 00:23:32,016 ♪♪ Who could ever help me ♪♪ 478 00:23:32,475 --> 00:23:35,812 ♪♪ Baby, won't you help me to understand? ♪♪ 479 00:23:35,812 --> 00:23:36,813 ♪♪ Ooh‐ooh ♪♪ 480 00:23:36,813 --> 00:23:38,314 PAUL: Once you've been to the top, 481 00:23:38,314 --> 00:23:39,899 going back down to the bottom of the ladder, 482 00:23:39,899 --> 00:23:43,820 and clawing your way back up, is, uh, is a bit of a number. 483 00:23:44,320 --> 00:23:46,322 But I had Linda by my side, 484 00:23:46,322 --> 00:23:48,116 and she'd helped me through that period. 485 00:23:48,783 --> 00:23:50,869 She was very, a great strength. 486 00:23:51,369 --> 00:23:53,872 ♪♪ 487 00:23:53,872 --> 00:23:56,749 ♪♪ Baby, I'm amazed at the way you helped me... ♪♪ 488 00:23:56,749 --> 00:23:58,001 Bringing the energy. 489 00:23:59,168 --> 00:24:01,129 ♪♪ You right me when I'm wrong ♪♪ 490 00:24:01,129 --> 00:24:03,548 I wonder if that's tucked in there, I never heard that before. 491 00:24:03,548 --> 00:24:05,174 No. No, you left it out? 492 00:24:05,174 --> 00:24:06,467 I don't know. 493 00:24:06,467 --> 00:24:07,969 It might be this. Yeah, it might be‐‐ 494 00:24:07,969 --> 00:24:09,929 Sounds like I mixed it out. I can't remember. 495 00:24:10,555 --> 00:24:11,723 ♪♪ Oh ♪♪ 496 00:24:12,015 --> 00:24:15,810 ♪♪ Ooh‐ooh‐ooh ♪♪ 497 00:24:16,519 --> 00:24:18,021 ♪♪ Yeah‐yeah, yeah ♪♪ 498 00:24:18,021 --> 00:24:21,274 ♪♪ 499 00:24:21,274 --> 00:24:22,275 That got it. 500 00:24:22,275 --> 00:24:23,276 ♪♪ Oh ♪♪ 501 00:24:23,860 --> 00:24:27,989 ♪♪ 502 00:24:27,989 --> 00:24:29,866 ♪♪ Yeah‐yeah, yeah ♪♪ 503 00:24:29,866 --> 00:24:33,703 ♪♪ 504 00:24:35,622 --> 00:24:39,459 That's when the audience applauds, you go, wait for it, wait for it. 505 00:24:40,001 --> 00:24:44,255 ♪♪ Maybe I'm amazed at the way you love me all the time ♪♪ 506 00:24:46,090 --> 00:24:49,469 ♪♪ And maybe I'm afraid of the way I love you ♪♪ 507 00:24:50,011 --> 00:24:52,972 I'd seen something that made me think, 508 00:24:52,972 --> 00:24:54,891 oh, John's got a new record out, 509 00:24:54,891 --> 00:24:56,809 and it's called Lennon. 510 00:24:57,393 --> 00:24:59,103 I thought, wow, that's great. 511 00:24:59,479 --> 00:25:01,773 Oh boy. I missed that boat. 512 00:25:01,773 --> 00:25:02,732 Yeah. You know. 513 00:25:02,732 --> 00:25:04,859 And it turned out not to be so. Wow. 514 00:25:04,859 --> 00:25:07,278 So I said, well, that's a great idea though. 515 00:25:07,278 --> 00:25:08,613 Yeah. You just call it your surname. 516 00:25:08,613 --> 00:25:10,448 Yes. So I said, I'll have that. 517 00:25:10,907 --> 00:25:13,284 So I just named my first record McCartney. 518 00:25:13,868 --> 00:25:16,996 ♪♪ That he doesn't really understand ♪♪ 519 00:25:20,041 --> 00:25:22,168 ♪♪ Baby, I'm a man... ♪♪ Whoa. 520 00:25:22,168 --> 00:25:25,547 ♪♪ You're the only woman who could ever help me ♪♪ 521 00:25:26,005 --> 00:25:29,509 ♪♪ Baby, won't you help me to understand? ♪♪ 522 00:25:29,509 --> 00:25:33,221 ♪♪ Ooh ♪♪ 523 00:25:33,221 --> 00:25:34,681 You were feeling good that day. 524 00:25:37,350 --> 00:25:42,605 ♪♪ 525 00:25:43,815 --> 00:25:46,276 When was the moment when it switched from, 526 00:25:46,818 --> 00:25:48,319 okay, the old band broke up, 527 00:25:48,319 --> 00:25:50,405 there's some bad feelings, business stuff, 528 00:25:50,405 --> 00:25:51,739 and now I'm moving on. 529 00:25:51,739 --> 00:25:55,118 I'm starting at the bottom myself, over again. 530 00:25:55,118 --> 00:25:58,496 When could you look back and realize, 531 00:25:58,496 --> 00:26:02,917 oh, what we did back then was really good and special? 532 00:26:02,917 --> 00:26:06,087 I think once I'd got over the fact 533 00:26:06,087 --> 00:26:07,463 that the Beatles had broken up. 534 00:26:08,089 --> 00:26:13,636 Um, once I could allow myself to do a Beatles song in, in our show. 535 00:26:13,636 --> 00:26:15,889 Would that have been five years or ten years or‐‐ 536 00:26:15,889 --> 00:26:18,224 No, I think it was, it was a few years. 537 00:26:18,224 --> 00:26:20,810 I wanted a whole new thing. Yes. 538 00:26:20,810 --> 00:26:23,354 Whole new sound, new songs. Yeah. 539 00:26:23,938 --> 00:26:26,399 So once we'd got that... Yes. 540 00:26:26,399 --> 00:26:29,319 I felt vindicated and I thought, okay, 541 00:26:30,236 --> 00:26:33,698 now, why don't‐I can, I can now safely put a Beatles song in. 542 00:26:33,698 --> 00:26:37,493 Yes. And, uh, then you started to think, 543 00:26:38,203 --> 00:26:39,871 ooh, what about that one? 544 00:26:39,871 --> 00:26:42,457 And I never would do a John song. Hmm. 545 00:26:42,457 --> 00:26:46,753 Because I would just only go to songs that I'd instigated. 546 00:26:46,753 --> 00:26:47,962 Yeah. Um‐‐ 547 00:26:47,962 --> 00:26:49,881 But after a while, I got so comfortable with it, 548 00:26:49,881 --> 00:26:51,424 I thought, yeah, I'll do a John song. 549 00:26:51,424 --> 00:26:52,508 I love that song. 550 00:26:52,508 --> 00:26:54,677 I want to read to you one little thing. 551 00:26:54,677 --> 00:26:55,386 Yeah. 552 00:26:55,386 --> 00:26:57,972 It says, "Paul is one of the most innovative bass players 553 00:26:57,972 --> 00:27:00,892 "that ever played bass, and half of the stuff that's going on now 554 00:27:00,892 --> 00:27:03,478 "is directly ripped off from his Beatle period. 555 00:27:03,478 --> 00:27:06,314 "He has always been a bit coy about his bass playing, 556 00:27:06,314 --> 00:27:08,191 but he's a great, great musician." 557 00:27:09,317 --> 00:27:11,194 Did I write that? That is John Lennon. 558 00:27:11,194 --> 00:27:12,362 That's John? Yeah. 559 00:27:12,362 --> 00:27:13,363 Alright. 560 00:27:13,363 --> 00:27:14,781 Come on, Johnny. 561 00:27:15,240 --> 00:27:16,282 Yeah. That's beautiful. 562 00:27:16,282 --> 00:27:17,534 I hadn't‐I hadn't heard that before. 563 00:27:17,534 --> 00:27:19,577 It's interesting considering obviously, 564 00:27:19,577 --> 00:27:23,039 you're two leaders of something, and just competitive situation. 565 00:27:23,039 --> 00:27:24,415 Yeah, yeah. Yeah. So to hear that. 566 00:27:24,415 --> 00:27:26,459 He'd never said that to me. Yeah. 567 00:27:26,459 --> 00:27:29,212 So, but it's nice to hear that he said it to someone. 568 00:27:29,671 --> 00:27:30,755 That's amazing. 569 00:27:31,839 --> 00:27:34,884 ♪♪ Helter Skelter playing ♪♪ 570 00:27:34,884 --> 00:27:38,429 ♪♪ When I get to the bottom, I go back to the top of the slide ♪♪ 571 00:27:38,429 --> 00:27:41,516 ♪♪ Where I stop, and I turn, and I go for a ride ♪♪ 572 00:27:41,516 --> 00:27:46,062 ♪♪ 'Til I get to the bottom, and I see you again! ♪♪ 573 00:27:46,062 --> 00:27:48,231 ♪♪ Yeah, yeah, yeah! ♪♪ 574 00:27:49,566 --> 00:27:52,527 ♪♪ Well, do you, don't you want me to love you? ♪♪ 575 00:27:55,280 --> 00:27:58,491 ♪♪ I'm coming down fast, but I'm miles above you ♪♪ 576 00:28:01,119 --> 00:28:03,329 ♪♪ Tell me, tell me, tell me ♪♪ 577 00:28:03,329 --> 00:28:05,874 ♪♪ Come on, tell me the answer! ♪♪ 578 00:28:06,583 --> 00:28:11,045 ♪♪ Well, you may be a lover, but you ain't no dancer ♪♪ 579 00:28:12,213 --> 00:28:13,882 ♪♪ Come on! Helter skelter ♪♪ 580 00:28:15,466 --> 00:28:17,176 ♪♪ Helter skelter ♪♪ 581 00:28:18,344 --> 00:28:19,971 ♪♪ Helter skelter ♪♪ 582 00:28:21,180 --> 00:28:21,890 ♪♪ Yeah ♪♪ 583 00:28:21,890 --> 00:28:24,893 ♪♪ 584 00:28:29,522 --> 00:28:32,734 ♪♪ Oh, will you, won't you want me to make you? ♪♪ 585 00:28:32,734 --> 00:28:35,445 ♪♪ 586 00:28:35,445 --> 00:28:38,448 ♪♪ I'm coming down fast, but don't let me break you ♪♪ 587 00:28:38,448 --> 00:28:41,242 ♪♪ 588 00:28:41,242 --> 00:28:43,953 ♪♪ Tell me, tell me, tell me the answer! ♪♪ 589 00:28:43,953 --> 00:28:46,915 ♪♪ You may be a lover, but you ain't no dancer ♪♪ 590 00:28:46,915 --> 00:28:48,625 ♪♪ 591 00:28:48,625 --> 00:28:49,709 ♪♪ Look out! ♪♪ 592 00:28:49,709 --> 00:28:51,252 ♪♪ Helter skelter ♪♪ 593 00:28:52,670 --> 00:28:54,172 ♪♪ Helter skelter ♪♪ 594 00:28:55,506 --> 00:28:57,050 ♪♪ Helter skelter ♪♪ 595 00:28:58,801 --> 00:28:59,886 ♪♪ Ooh ♪♪ 596 00:29:01,846 --> 00:29:02,972 ♪♪ Look out! ♪♪ 597 00:29:03,598 --> 00:29:05,308 ♪♪ 'Cause here she comes ♪♪ 598 00:29:05,308 --> 00:29:09,938 ♪♪ 599 00:29:18,029 --> 00:29:21,658 ♪♪ When I get to the bottom, I go back to the top of the slide ♪♪ 600 00:29:21,658 --> 00:29:24,577 ♪♪ And I stop, and I turn, and I go for a ride ♪♪ 601 00:29:24,577 --> 00:29:29,040 ♪♪ And I get to the bottom, and I see you again! ♪♪ 602 00:29:29,040 --> 00:29:31,042 ♪♪ Yeah, yeah, yeah! ♪♪