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My name is Mary.
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Abbey Road Studios has been part of
my life for as long as I can remember.
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Every time I walk through these corridors,
it feels magical.
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I don't remember
the first time I came here.
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This is me in Studio Two. A photograph
taken by my mom who was a photographer,
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and was in a band with my dad.
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I want to tell the story
of some of the iconic recordings
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made here over the last nine decades.
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From classical to pop to film scores.
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One of the reasons
I wanted to do this documentary,
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was I remember seeing a picture of Mom
leading Jet across the zebra crossing.
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-Oh, yeah!
-Do you remember that?
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Yeah! Absolutely, yeah.
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What happened was we lived close by,
as you know.
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And we had this little pony called Jet.
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And she just loved horses so much that
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when we were coming over here
to do something, she just brought Jet.
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And so, there's a picture of her--
him doing the level crossing.
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And he came into the studio.
I don't think he disgraced himself.
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'Cause you came back here with Wings?
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Do you remember
making a decision thinking,
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"I could go anywhere,
but I'm actually gonna do this next phase
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in my musical career in the same studio"?
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Yeah.
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I mean, in London we had used
other studios besides Abbey Road.
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But we always liked this the best.
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So that when I was looking to record
with Wings, I thought,
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"Well, this is the best studio. I know it.
I know a lot of the people here."
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A lot of them were still here.
A lot of them still are.
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It's just a great studio.
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You know, all the microphones work.
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I mean, that sounds silly to say,
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but you can go to some studios
where they don't.
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So, it was great.
It was great to come back home.
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When you drive through
the little gates by the zebra crossing,
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never gets old.
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And every time I drive by,
I look at the graffiti and think,
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"It's magic going across
that zebra crossing. Magic happened here."
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It's history.
You can feel it seeping from the walls.
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Somewhere now, some kid, somewhere,
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his dream will be to walk in here
and just do a tune in here.
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And you can't let that dream die. Ever.
You can't.
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It's a very spiritual thing.
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Yeah, no, it's amazing. Um…
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Hopefully,
it'll be here for millions of years.
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It's a national treasure, innit?
You know what I mean?
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The first time I'd been here,
48
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I just felt a sense of accomplishment
in reaching something
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which I'd sort of fantasized
in my bedroom about as a child.
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I think about Abbey Road as being
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a kind of mother of the music
that's been performed there.
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She has preserved it for us.
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She has embraced it
with her personal acoustic.
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And so, it's a gift to us.
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You know, we use it. We think we hire it.
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It's something more spiritual than that.
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The 12th of November, 1931,
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Sir Edward Elgar is about to
formally open a unique recording studio.
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The esteemed composer is a supporter
of the novel recording medium.
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And prepares to cut his composition
directly to disc…
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-You all ready?
-…with the London Symphony Orchestra.
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Right.
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Three years ago,
the Gramophone Company
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purchased number 3 Abbey Road
of St. John's Wood, London, at auction.
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A detached residence of nine bedrooms,
five reception rooms,
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servant's quarters,
and a large garden at the rear
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have been converted into the largest
and best-equipped studios in the world.
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A disc of wax.
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The mother disc from which
thousands of copies will be produced
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to be enjoyed across the globe.
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When I arrived,
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the company was losing
half a million a year.
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You know, there's no money
in the classical record business.
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And I started searching
for who we've got in the business
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that knew anything about pop music.
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I was singing
from the days I was at school.
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So I would've been 14, 15.
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And I made my first record at Abbey Road
when I was 17.
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And we were given an audition
by Norrie Paramor,
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who was a producer with EMI.
81
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And that's when we first played him
the song called "Move It."
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That's when we got really excited that we
were actually going to be in a studio.
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And it turned out to be Abbey Road.
84
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And, in fact, Studio Two
became our home for many, many years.
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Abbey Road gave
rock and roll its life, I think.
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Because it was on the forefront
of one of the biggest musical changes.
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I believe, historically,
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rock and roll was the biggest, fastest,
and most long-term change.
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In 1950,
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British record sales totaled
a mere three-and-a-half million pounds.
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By 1960,
this figure had risen to £15 million.
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Easily the biggest company is
Electric and Musical Industries, EMI,
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which sells
just under half of all the records.
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EMI's labels include
Parlophone, HMV, Capitol.
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EMI is the world's largest record company.
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Its chairman, Sir Joseph Lockwood,
keeps a realistic eye on the competition.
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Well, it's a free-for-all.
The competition's absolutely terrific.
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And anyone who thinks that, um, this is an
easy business should come and have a try.
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I started in
the recording business in November 1950.
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I'd studied
at the Guildhall School of Music,
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and I had an invitation to go
to EMI Studios for an interview.
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Um, surprisingly, for me,
103
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they put me in the position of power
at Parlophone,
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and Joe Lockwood said to me,
105
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"Well, now you're the youngest label head
we've ever had. You better do well."
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So I went,
and I started looking for something.
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I started looking for something
like a Cliff Richard.
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The Beatles had already been signed by
Decca, made a record, and not released.
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And Brian Epstein came to see 'em
as a last resort.
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I mean, really as a last resort.
He'd been to see everyone else.
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And my dad just liked Brian.
Brian was a very likable man.
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And said, "Maybe you can bring them down."
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Yeah, so we came into here,
and, um, George Martin arrived.
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Came down, "Okay, chaps.
What are we gonna do?" You know?
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He didn't think they were that good.
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But he liked spending time with them.
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He also was looking at them, thinking,
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"Okay, which one's Cliff,
and who are the Shadows?"
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And I listened to them performing.
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And the songs they offered me
weren't very good.
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"Love Me Do" was the best I could find.
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George was incredible.
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We could never say anything else but,
"George was incredible."
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And we were buskers. I mean, no one can
write or read music. We're just buskers.
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We got a minor hit with "Love Me Do."
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And then, later,
we brought in "Please Please Me."
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What are you doing?
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Just…
It's murder. I can't do it.
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-Can't keep it up. I just go… I'm truly…
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I haven't got one.
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And George Martin
wasn't very impressed.
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And he said, uh, "Could we do it faster?"
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And we all go, "No."
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Or we didn't.
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No. We thought, "No," but we went, "Yeah."
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Doing take seven.
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And we weren't that impressed,
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but he said,
"That'll be your first number-one hit."
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And he was right.
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Once we had
a success with "Please Please Me,"
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they seemed to blossom as songwriters.
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"From Me To You" followed,
and "She Loves You," and so on.
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And each one was a great song.
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And I realized very early on that
we needed an album pretty damn quick.
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It was in February of '63
that we-- we made the album.
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And we did it in one day.
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Should we do it on the second verse?
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Yeah.
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Hello?
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So we came in nice and early.
Set up. Got ready.
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And then just played everything we knew.
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The engineers and everybody were
up the stairs, would just mix 'em.
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They were actually mixing
as they went along.
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They knew how loud the drums had to be,
how loud the bass drum should be,
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so they kind of had it all balanced.
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And, in fact, in those days,
they were called "balance engineers."
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The idea is to capture
a band as a live performance.
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This is them straight from the Cavern Club
into Abbey Road.
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I just worked them very hard.
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And just recorded them almost like a--
like a broadcast, you know?
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Where all I had was two tracks.
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That's the band
just playing live in the room.
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And on track two…
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…we have John's ripped vocal.
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And Paul and George
are singing live with him.
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And we did it just under 12 hours
from start to finish.
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You know what I mean? It wasn't like,
"Oh, I'm so tired. I'm this"--
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No, man. If we were playing…
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That was the great thing about the Beatles
was we all were in it for the music.
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You know, we were playing.
That was what was important.
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And, uh, you know,
it worked out pretty well for us.
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Music being one of
the most important things in my life,
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we said we'd take a risk,
a gamble, if you like,
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and, uh, come here to England
to see whether I could find a job.
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September 19th, 1960,
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I duly reported at the Abbey Road Studios.
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So that's how I started.
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-I say if you were there--
-But I wouldn't be this bad.
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If she were--
Just what I was going to say!
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-I think that's enough. Let's go and play.
-It's fine by me.
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-Yes.
-Are you happy with the sound?
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-Absolutely. Absolutely.
-Good. Come. Come on.
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Jacqueline du Pré was
the perfect person to record with
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because she never got impatient
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however much time you took
to get a satisfactory balance.
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And with her bulges of sound,
she was a very difficult person to record.
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-That's fine for balance.
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Play from the repeated D's.
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Many musicians
that I admire recorded here.
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And many of my, sort of,
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-favorite recordings were made here.
-Yeah.
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Artists like
Jacqueline du Pré, Daniel Barenboim.
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These people, I grew up with their sound.
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And the sound that I grew up listening to
was recorded here.
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We used to listen to a lot of music
in the car on car journeys.
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And my parents had a CD
of her recording of Elgar Concerto.
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I would've been five or six years old.
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When you listen, you really feel
that she is giving everything,
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all of her soul,
to every single note that she plays.
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Jacqueline du Pré's recordings
of the Elgar Concerto was made here,
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and a few years ago,
when I recorded the Elgar Concerto,
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it was in this very, um, studio.
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Probably in this exact spot
that I'm sitting in.
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It's a massive honor for me, of course,
and incredibly special to think about.
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00:17:32,600 --> 00:17:35,080
Now, Jacqueline,
in July '71, it was announced
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00:17:35,160 --> 00:17:38,680
that you had nervous exhaustion
and were going to rest for a year.
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And everyone had said,
"Oh, poor girl. She's been overdoing it."
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00:17:42,200 --> 00:17:45,000
Then we realized
that it wasn't just nervous exhaustion.
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00:17:46,760 --> 00:17:50,320
No, it turned out,
in fact, to be multiple sclerosis.
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One is, naturally, very frightened by it.
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But I was lucky, you see,
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because my talent was one
which developed very early.
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So that by the time I got
the symptoms of MS
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severely enough
to interfere with playing instruments,
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00:18:10,880 --> 00:18:17,200
I had done everything I could've wanted to
with the cello.
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00:18:39,280 --> 00:18:42,000
After the illness had taken hold of her,
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00:18:43,320 --> 00:18:44,880
Daniel, one day, rang me and said,
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"What is your number one studio
doing tomorrow?
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00:18:48,560 --> 00:18:52,560
Can you book it under the title
'Daniel Barenboim test'?"
220
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So he said,
"We will try and record something.
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Don't be disappointed
if nothing transpires."
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00:19:00,680 --> 00:19:02,840
I thought you'd be interested in this.
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00:19:04,080 --> 00:19:06,960
These are the engineer notes
for her last recording here.
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Sessions,
but two of them are crossed out,
225
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so I guess that might mean
that only two were used.
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00:19:14,160 --> 00:19:16,640
It says she was ill after two sessions.
I see.
227
00:19:17,480 --> 00:19:18,480
Wow.
228
00:19:22,280 --> 00:19:25,880
There's something incredibly vulnerable
and fragile about this.
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00:19:26,720 --> 00:19:28,600
I absolutely love it,
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00:19:28,680 --> 00:19:34,680
and for us to be able to listen to that
now, I think we're very, very lucky.
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Started opus five,
played the first few bars,
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00:19:45,800 --> 00:19:49,880
put the cello back, and said,
"That ends the entertainment for the day."
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00:19:49,960 --> 00:19:52,520
That was her last appearance
in the studios.
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00:20:42,960 --> 00:20:45,480
Brian Epstein and my father had
a very, very good relationship.
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00:20:45,560 --> 00:20:46,400
Yeah.
236
00:20:46,480 --> 00:20:49,840
And they worked as a team,
so they, I think in 1964,
237
00:20:49,920 --> 00:20:53,480
I think they had 36 weeks
at number one out of 52 in the UK.
238
00:20:53,560 --> 00:20:55,280
Which will never be done again.
239
00:20:55,360 --> 00:20:58,320
I mean, if you think about--
You know, it's just crazy.
240
00:21:00,440 --> 00:21:02,240
And that was with, obviously, Cilla Black,
241
00:21:02,320 --> 00:21:04,560
Gerry and the Pacemakers, and the Beatles.
242
00:21:06,320 --> 00:21:08,040
And they were all
from Brian Epstein's stable,
243
00:21:08,120 --> 00:21:10,600
all produced by my dad, all at Abbey Road.
244
00:21:10,680 --> 00:21:12,720
Cilla, do you think
you could've got to the top
245
00:21:12,800 --> 00:21:14,440
without Brian Epstein?
246
00:21:14,520 --> 00:21:16,400
-No, I don't think so.
-Why not?
247
00:21:16,480 --> 00:21:19,960
Um, because I came from Liverpool.
248
00:21:20,040 --> 00:21:24,640
Well, at the time, nobody wanted to know
anything about Liverpudlians,
249
00:21:24,720 --> 00:21:26,880
until Brian Epstein came on the scene.
250
00:21:26,960 --> 00:21:30,040
I mean, it was a bit of a handicap
to anybody who did come from Liverpool
251
00:21:30,120 --> 00:21:31,440
because of the way they spoke.
252
00:21:32,400 --> 00:21:34,240
-Move it along a bit now.
-Right.
253
00:21:35,080 --> 00:21:36,200
Okay, Burt. Here we go.
254
00:21:36,280 --> 00:21:37,440
Get running, please.
255
00:21:59,040 --> 00:22:00,040
One more.
256
00:22:00,120 --> 00:22:01,520
It was good, darling. We may--
257
00:22:01,600 --> 00:22:03,400
-Hello, Brian.
-Cilla, it sounds lovely.
258
00:22:03,480 --> 00:22:05,160
-Hello there. How are you?
-Fine.
259
00:22:05,240 --> 00:22:06,360
Good.
260
00:22:06,440 --> 00:22:08,720
-It's sure feeling better out there.
-Yeah.
261
00:22:08,800 --> 00:22:11,520
But I don't I wanna go on at it
all night though.
262
00:22:11,600 --> 00:22:13,960
-With each performance, it gets better.
-Actually, yeah. There's--
263
00:22:14,040 --> 00:22:17,280
-What's wro-- I don't want to have to--
-Yeah, I know, but we need…
264
00:22:17,360 --> 00:22:21,760
Burt Bacharach was extremely
persistent about doing take after take.
265
00:22:21,840 --> 00:22:24,360
Wanted to get something
that nobody else could see.
266
00:22:24,440 --> 00:22:26,520
-Just touching up the edges now.
-Me?
267
00:22:28,560 --> 00:22:31,640
And I remember
sort of doing a great take
268
00:22:31,720 --> 00:22:33,840
and going on to about 15 takes.
269
00:22:33,920 --> 00:22:36,880
And everybody getting very, very tired
and the orchestra getting fractious.
270
00:22:38,480 --> 00:22:41,200
And I said to--
Pressed the knob and I said to Burt,
271
00:22:41,280 --> 00:22:43,080
"Burt, what are you looking for?"
272
00:22:45,720 --> 00:22:48,560
And he said, "I just want
that little bit of magic, George."
273
00:22:49,760 --> 00:22:52,400
I said, "Well I think you got
the magic on take four."
274
00:22:53,240 --> 00:22:54,280
And of course we had.
275
00:22:54,360 --> 00:22:56,440
Take four was the one with the precision.
276
00:23:22,160 --> 00:23:24,440
-I think that's it there. Done.
277
00:23:36,160 --> 00:23:39,880
The Beatles were one of
Britain's biggest export industries.
278
00:23:39,960 --> 00:23:44,520
And Brian had them as this--
as this boy band in a way.
279
00:23:45,480 --> 00:23:47,960
And it was scary, it wasn't enjoyable.
280
00:23:48,480 --> 00:23:54,040
And so they needed to just basically
either split or go into a bunker.
281
00:23:54,120 --> 00:23:55,480
And that bunker was Abbey Road.
282
00:23:55,560 --> 00:23:57,440
If you never toured again,
would it worry you?
283
00:23:57,520 --> 00:24:00,320
No, I don't think so.
Uh, if we're not listened to then,
284
00:24:00,400 --> 00:24:03,440
and we can't even hear ourselves,
then we can't improve in that.
285
00:24:03,520 --> 00:24:05,280
-We can't get any better.
-Hmm.
286
00:24:05,360 --> 00:24:08,560
So, uh, we're trying to get better
with things like recording.
287
00:24:09,160 --> 00:24:14,000
It got too, sort of, horrible, so we
started to hatch plans of what we'd do.
288
00:24:14,080 --> 00:24:17,240
So, this is gonna give us
a lot of time to record.
289
00:24:17,320 --> 00:24:20,840
And the other great thing
about Abbey Road, it was free.
290
00:24:21,440 --> 00:24:25,320
In our contract,
we had limitless recording time.
291
00:24:25,400 --> 00:24:27,040
Don't need that.
292
00:24:27,120 --> 00:24:29,760
I think it'll probably be
another day singing it.
293
00:24:29,840 --> 00:24:32,600
No, this was our home really.
294
00:24:32,680 --> 00:24:33,920
We spent so much time here.
295
00:24:36,080 --> 00:24:39,040
We talked through
what we were gonna do. And, uh…
296
00:24:40,760 --> 00:24:43,240
You know, he'd say, "What we should do,
297
00:24:43,320 --> 00:24:46,800
we should make a record
and kind of send it on tour."
298
00:24:46,880 --> 00:24:49,840
Uh, and so we started making Sgt. Pepper.
299
00:24:58,000 --> 00:25:02,040
It opens with a, uh, real interesting, uh,
300
00:25:02,120 --> 00:25:04,160
nostalgic recall of old vaudeville.
301
00:25:04,240 --> 00:25:05,360
And good old times.
302
00:25:10,080 --> 00:25:12,440
It goes on,
"With a Little Help From My Friends."
303
00:25:12,520 --> 00:25:14,040
A statement of communal purpose.
304
00:25:19,280 --> 00:25:21,800
The next is like
a statement of imagination.
305
00:25:21,880 --> 00:25:25,200
"Lucy in the Sky With Diamonds,"
as being an element of importance.
306
00:25:29,440 --> 00:25:31,200
With
Sgt. Pepper's Lonely Hearts Club Band,
307
00:25:31,280 --> 00:25:33,560
-the rules had changed.
-Concentrate.
308
00:25:33,640 --> 00:25:35,960
They wanted to use the studio
as a playground.
309
00:25:36,840 --> 00:25:38,600
And they wanted to paint pictures
with sound.
310
00:25:40,320 --> 00:25:41,240
Two!
311
00:25:41,320 --> 00:25:42,880
One of my best beginnings that.
312
00:25:42,960 --> 00:25:45,920
The lunatics started
to take over the asylum.
313
00:25:46,000 --> 00:25:51,360
We sometimes would have one mix going on
up in the control room here in number two.
314
00:25:51,920 --> 00:25:55,360
Then we'd have another one going on
in number three.
315
00:25:55,440 --> 00:25:57,160
So you had the run of the building.
316
00:25:57,800 --> 00:26:00,680
And then, you know,
there's lots of equipment around here.
317
00:26:00,760 --> 00:26:03,840
So we'd sort of say,
"Can we play that? Or could we do that?"
318
00:26:03,920 --> 00:26:05,480
And they had a Lowrey organ
319
00:26:05,560 --> 00:26:08,360
which I use for the front
of "Lucy in the Sky With Diamonds."
320
00:26:12,240 --> 00:26:15,400
There was an artist called Mrs. Mills
who had a particular--
321
00:26:16,320 --> 00:26:17,320
There it is!
322
00:26:19,480 --> 00:26:22,120
And we'd knock around on it, you know,
323
00:26:22,200 --> 00:26:24,840
and just, sort of,
"Wow, it's got a great sound!"
324
00:26:24,920 --> 00:26:26,480
It's a good rock-and-roll piano.
325
00:26:34,400 --> 00:26:39,400
And then there'd be, like,
Daniel Barenboim's classical Steinway.
326
00:26:42,440 --> 00:26:44,080
Uh, so there was all this stuff.
327
00:26:45,520 --> 00:26:52,520
And I think that's one of the reasons
the Beatles' music was always interesting
328
00:26:52,600 --> 00:26:54,600
from the instrumental point of view.
329
00:26:55,960 --> 00:27:00,200
I was there about, uh, '62 I think.
330
00:27:01,320 --> 00:27:05,240
And "When I'm Sixty Four" amused me.
It's a lovely song.
331
00:27:06,720 --> 00:27:10,760
The last is, uh, "A Day in the Life"
which I thought was the best poem.
332
00:27:13,280 --> 00:27:16,160
Probably the most momentous song
on the album, "A Day in the Life,"
333
00:27:16,240 --> 00:27:18,000
began in a very simple way.
334
00:27:18,520 --> 00:27:22,600
And we caught the rehearsal take,
take one. The very first time I heard it.
335
00:27:22,680 --> 00:27:25,240
Have the mic
on the piano quite low, this.
336
00:27:25,320 --> 00:27:27,720
Just keep it in like maracas, you know?
337
00:27:27,800 --> 00:27:29,120
John counts in by saying,
338
00:27:29,200 --> 00:27:31,840
"Sugar plum fairy, sugar plum fairy,
sugar plum"…
339
00:27:31,920 --> 00:27:34,720
Sugar plum fairy, sugar plum fairy.
340
00:27:38,400 --> 00:27:43,440
"Day in the Life" arrived when John came
to my house for a little writing session.
341
00:27:43,520 --> 00:27:47,240
And he'd been reading the newspaper.
342
00:27:52,800 --> 00:27:55,160
And I think
we then wrote the second verse
343
00:27:55,240 --> 00:27:57,760
looking in the newspaper for clues.
344
00:28:04,480 --> 00:28:07,160
"A Day in the Life"
seems incredibly complicated…
345
00:28:08,960 --> 00:28:12,600
…but it's just beautifully simple
in the way it's done.
346
00:28:12,680 --> 00:28:18,400
All they had was four things they could
put together to create this wall of sound.
347
00:28:18,480 --> 00:28:20,480
Even the orchestra is just on one track.
348
00:28:21,160 --> 00:28:24,480
It's the four of them
in a room making a sound together.
349
00:28:28,680 --> 00:28:30,560
John is singing a guide vocal here.
350
00:28:31,200 --> 00:28:32,920
But he overdubs his vocal later.
351
00:28:35,480 --> 00:28:37,440
And here's the master take of his vocal.
352
00:28:37,960 --> 00:28:42,040
-Which is just an extraordinary sound.
353
00:28:42,120 --> 00:28:44,360
It's, in essence, "A Day in the Life."
354
00:29:05,320 --> 00:29:08,160
Then I added in a bit that I had.
355
00:29:08,680 --> 00:29:11,840
That was, "Woke up, fell out of bed."
356
00:29:17,360 --> 00:29:19,960
And Paul brings it, sort of,
back to the real world.
357
00:29:20,480 --> 00:29:23,240
And they-- they had no idea
how to connect the songs.
358
00:29:23,320 --> 00:29:24,560
They just left a gap.
359
00:29:25,800 --> 00:29:28,760
And they also didn't know
how to end the song.
360
00:29:28,840 --> 00:29:31,360
I remember it was, like,
we started talking about this and that.
361
00:29:31,440 --> 00:29:34,640
I said, "It would be great
if we could have a symphony orchestra.
362
00:29:34,720 --> 00:29:36,360
I've got some ideas." You know?
363
00:29:38,760 --> 00:29:40,040
Paul said to my dad,
364
00:29:40,120 --> 00:29:42,720
"I think what I'd like to hear is
an orchestral orgasm."
365
00:29:43,520 --> 00:29:45,000
My dad said, "Oh, right. Okay, Paul."
366
00:29:45,080 --> 00:29:48,520
That was the other great thing
about coming here.
367
00:29:48,600 --> 00:29:51,920
The tools for that were there.
It was available.
368
00:29:52,000 --> 00:29:54,880
George Martin, number one studio.
369
00:29:55,960 --> 00:29:58,760
It was all kind of here, you know?
So we took advantage of it.
370
00:29:59,840 --> 00:30:05,360
So we did that on "Day in the Life."
We had the big orchestra and, um, idea.
371
00:30:05,440 --> 00:30:08,040
The instruction I gave them was
for them all to start
372
00:30:08,120 --> 00:30:13,960
on the lowest note on their instrument
and to go through all your notes
373
00:30:14,040 --> 00:30:16,520
till you reach the highest note
on the instrument.
374
00:30:16,600 --> 00:30:20,480
And also you have to play from very, very
quietly to as loud as you possibly can.
375
00:30:20,560 --> 00:30:23,080
But you have to meet in tune and in time
at the perfect time.
376
00:30:23,160 --> 00:30:25,600
They kind of looked at me
a little bit like,
377
00:30:25,680 --> 00:30:28,920
"We don't normally get
that kind of instruction." You know?
378
00:30:29,000 --> 00:30:32,080
So George kind of laid it out
a little bit more for them.
379
00:30:32,160 --> 00:30:37,240
He said, "I think you should've reached
halfway by this point,
380
00:30:37,320 --> 00:30:40,520
and then if you can go
to the big crescendo 'round about here."
381
00:30:47,680 --> 00:30:50,000
Six, seven,
382
00:30:50,600 --> 00:30:57,280
eight, nine, ten, 11, 12,
383
00:30:57,360 --> 00:31:04,160
13, 14, 15, 16, 17,
384
00:31:04,920 --> 00:31:10,000
-18, 19, 20, 21!
385
00:31:14,280 --> 00:31:15,760
"A Day in the Life."
386
00:31:15,840 --> 00:31:18,600
This is take eight,
and it's the choir for the end.
387
00:31:18,680 --> 00:31:19,920
Choir?
388
00:31:20,000 --> 00:31:25,840
They originally thought, "Wouldn't it be
great to have this choir going of 'ums'?"
389
00:31:25,920 --> 00:31:28,480
What's the note?
Shall we just double-check?
390
00:31:31,400 --> 00:31:35,120
It's one of the, sort of,
biggest anticlimaxes ever.
391
00:31:35,200 --> 00:31:38,560
It's like this big orchestral crescendo,
then it's like…
392
00:31:38,640 --> 00:31:39,840
…three, four.
393
00:31:43,160 --> 00:31:44,480
Then…
394
00:31:44,560 --> 00:31:49,200
They had four grand pianos,
and we had 'em…
395
00:31:50,640 --> 00:31:53,800
And we could all see,
and we all had a count in, and we went--
396
00:32:01,240 --> 00:32:02,520
Right.
397
00:32:02,600 --> 00:32:04,800
-It was very good. Thank you. That's fine.
-Hey?
398
00:32:04,880 --> 00:32:06,840
I think that will do
for the vocal backing very nicely.
399
00:32:06,920 --> 00:32:08,040
We'll get the musicians in now.
400
00:32:08,120 --> 00:32:11,680
I think that that period felt special
401
00:32:11,760 --> 00:32:16,720
because there was a great upsurge
of energy and consciousness.
402
00:32:18,640 --> 00:32:21,520
It was like a sort of mini-renaissance.
403
00:32:24,400 --> 00:32:26,880
It was so close
to the end of the war,
404
00:32:26,960 --> 00:32:30,040
and those of us who'd been born
in the war,
405
00:32:30,120 --> 00:32:32,280
our memories were all in black and white.
406
00:32:32,920 --> 00:32:35,920
But it gradually got better
and better and better.
407
00:32:36,000 --> 00:32:40,680
By the '60s, it was technicolor.
You know, it was all…
408
00:32:47,960 --> 00:32:52,320
So here you were in London,
which was on fire.
409
00:32:52,400 --> 00:32:56,640
You'd have artists,
novelists, poets, painters.
410
00:32:57,360 --> 00:33:01,720
If you wanted an album cover,
for instance, you knew lots of artists.
411
00:33:01,800 --> 00:33:05,040
Peter Blake, Richard Hamilton,
you know, who were on the scene.
412
00:33:05,120 --> 00:33:08,040
You know, and Peter Blake obviously did
the Sgt. Pepper cover.
413
00:33:08,120 --> 00:33:09,520
He and his then wife.
414
00:33:17,360 --> 00:33:21,240
It was the '60s, late '60s,
and it was so exciting.
415
00:33:22,040 --> 00:33:24,160
Music was exciting. London was exciting.
416
00:33:24,720 --> 00:33:26,000
Everything was exciting.
417
00:33:28,520 --> 00:33:32,000
And I always say I was so grateful
to be around at that period of time
418
00:33:32,080 --> 00:33:34,560
because you're never gonna see
a time like that again.
419
00:33:36,200 --> 00:33:39,840
And for me, um,
it was the start of my journey in a way.
420
00:33:39,920 --> 00:33:42,240
I mean, I spent three years
in a van with Bluesology.
421
00:33:42,320 --> 00:33:45,280
And I was fed up with that,
and I wanted to do something else.
422
00:33:45,360 --> 00:33:47,200
Uh, write songs is what I wanted to do.
423
00:33:47,280 --> 00:33:50,960
I never thought I'd become Elton John
singer, songwriter, artist.
424
00:33:51,040 --> 00:33:52,840
So I started to do sessions.
425
00:33:54,160 --> 00:33:56,560
"He's Heavy, He's My Brother" take one.
426
00:33:56,640 --> 00:33:57,800
Oh, take it, broth--
427
00:33:57,880 --> 00:33:59,760
And I did a lot of session work here.
428
00:33:59,840 --> 00:34:03,120
One, two, three, four.
429
00:34:17,840 --> 00:34:20,440
Reg Dwight was
a songwriter that we knew,
430
00:34:20,960 --> 00:34:24,240
and he did the keyboards for us
on "He Ain't Heavy, He's My Brother"
431
00:34:24,320 --> 00:34:27,040
as a session musician
432
00:34:27,120 --> 00:34:29,920
which, uh, I think he got
about twelve pounds for that.
433
00:34:30,000 --> 00:34:31,320
He'd probably want more today.
434
00:34:32,360 --> 00:34:34,880
Oh, no. He wouldn't actually.
He'd probably do it for nothing.
435
00:34:37,520 --> 00:34:40,840
Reg with the grand piano
at the bottom of the stairs.
436
00:34:40,920 --> 00:34:42,040
Me on the drums nearby.
437
00:34:42,120 --> 00:34:45,000
We didn't wanna move the grand piano
because you could knock 'em out of tune.
438
00:34:45,080 --> 00:34:47,680
So I put the drums next to-- uh, to Elton.
439
00:34:47,760 --> 00:34:50,080
And there was Bernie Calvert,
our bass player, on bass.
440
00:34:50,160 --> 00:34:53,640
That's all the basic track was.
With Clarkey singing the guide vocal.
441
00:34:53,720 --> 00:34:55,640
Uh, and Elton counted it in.
442
00:34:55,720 --> 00:34:57,400
It's still on the tape somewhere.
443
00:35:04,360 --> 00:35:06,480
You can tell that's me
playing on that record.
444
00:35:06,560 --> 00:35:07,720
It's my piano style.
445
00:35:19,960 --> 00:35:24,040
I was so lucky, um, because once word got
around that Reg could play the piano,
446
00:35:24,560 --> 00:35:26,720
um, Reg was hired quite a lot.
447
00:35:29,640 --> 00:35:34,360
And, uh, you know, I was getting paid
money by Dick James Music as a songwriter.
448
00:35:35,080 --> 00:35:36,280
Fifteen quid a week.
449
00:35:36,360 --> 00:35:39,280
But the extra money that I got
as a session musician
450
00:35:39,360 --> 00:35:43,400
made me able to buy the records I loved,
and there were so many of them,
451
00:35:43,480 --> 00:35:45,520
buy some clothes, and pay the rent.
452
00:35:49,000 --> 00:35:51,040
And I have so many memories
of coming in here.
453
00:35:51,120 --> 00:35:52,600
The smell of Abbey Road.
454
00:35:53,680 --> 00:35:56,760
I was actually the smell of fear
when I came in.
455
00:35:56,840 --> 00:35:58,480
"Am I gonna mess this up?"
456
00:36:02,680 --> 00:36:04,320
You know, it formed me as a man.
457
00:36:04,400 --> 00:36:05,680
It formed me as a musician.
458
00:36:06,200 --> 00:36:08,560
It made me be good.
Because I had to be good in three hours.
459
00:36:08,640 --> 00:36:09,760
I had to deliver.
460
00:36:11,760 --> 00:36:14,920
I remember playing on
a Barron Knights session here.
461
00:36:15,000 --> 00:36:17,000
And "Hey Jude" had just come out.
462
00:36:17,080 --> 00:36:20,200
So I was standing with Bernie. Um…
463
00:36:20,280 --> 00:36:22,960
And your dad came in the door
and said hello to the Barron Knights.
464
00:36:23,040 --> 00:36:26,640
And that is the first time I'd ever seen
anyone that famous in my life.
465
00:36:26,720 --> 00:36:29,640
And I kind of froze and Bernie did too.
466
00:36:30,160 --> 00:36:34,600
And the Barron Knights asked Paul to play
"Hey Jude" on the piano, and he did.
467
00:36:34,680 --> 00:36:36,480
And Bernie and I have never forgotten it.
468
00:36:36,560 --> 00:36:38,920
It's like, "Oh, my God.
We saw Paul play 'Hey Jude'
469
00:36:39,000 --> 00:36:40,720
at the time the record came out."
470
00:36:54,520 --> 00:36:55,600
Can you imagine?
471
00:36:56,240 --> 00:36:59,240
For a young kid from Midd like me?
It's like, "Oh, my God."
472
00:36:59,840 --> 00:37:03,480
Um, and that was just startling.
473
00:37:12,960 --> 00:37:15,000
How can you not dine out on that story?
474
00:37:15,080 --> 00:37:17,320
And it's still--
Bernie and I still talk about it.
475
00:37:18,000 --> 00:37:19,760
And it was incredible.
476
00:37:19,840 --> 00:37:23,320
So, um, your dad's given me
a lot of pleasure in my life.
477
00:37:23,400 --> 00:37:24,720
So much pleasure.
478
00:37:24,800 --> 00:37:28,560
And he has no idea what that moment
meant to me, but, hopefully, he will now.
479
00:37:44,560 --> 00:37:46,320
I was a studio musician.
480
00:37:47,280 --> 00:37:53,040
And so I was coming in here
probably about the age of 17 on.
481
00:37:53,120 --> 00:37:56,120
Seventeen, 18, 19, 20, and on.
482
00:37:56,200 --> 00:37:57,520
Even longer.
483
00:37:57,600 --> 00:37:59,760
Jimmy Page, what is a session guitarist?
484
00:37:59,840 --> 00:38:02,280
It's a guitarist who's called in
to make records.
485
00:38:02,360 --> 00:38:04,560
Not necessarily doing one-night stands,
486
00:38:04,640 --> 00:38:06,400
hoping that they'll get
into the hit parade,
487
00:38:06,480 --> 00:38:08,400
but only getting an ordinary fee.
488
00:38:08,480 --> 00:38:10,720
So how did you become a session guitarist?
489
00:38:10,800 --> 00:38:13,280
I don't know. Perhaps they thought
I had the feel for it.
490
00:38:13,360 --> 00:38:15,720
Obviously, you know me
as an electric guitarist,
491
00:38:15,800 --> 00:38:19,000
but I can also play acoustic guitar.
492
00:38:19,520 --> 00:38:22,200
So, uh-- And I could play harmonica.
493
00:38:22,280 --> 00:38:27,240
So I was booked it on sessions
doing harmonica, blues harmonica,
494
00:38:27,320 --> 00:38:30,760
or be it finger-style guitar playing,
folk guitar playing,
495
00:38:30,840 --> 00:38:34,120
as it was then very much
the sort of vogue.
496
00:38:34,200 --> 00:38:37,600
And then electric guitar and slide playing
and all this sort of stuff.
497
00:38:37,680 --> 00:38:41,440
What is it like working with
some of the big names of show business?
498
00:38:41,520 --> 00:38:42,680
Disappointing.
499
00:38:42,760 --> 00:38:44,040
Why is that?
500
00:38:44,120 --> 00:38:47,440
Well, they don't come up
to how you expect them to be.
501
00:38:48,120 --> 00:38:50,240
Rather disappointing on the whole,
I would say.
502
00:38:50,960 --> 00:38:54,080
See, well, that's probably
bad news for some record fans.
503
00:38:54,840 --> 00:38:58,520
Done all manner of things
at big studio number one,
504
00:38:58,600 --> 00:39:00,000
where they did the film music.
505
00:39:00,080 --> 00:39:04,960
And that's where the Goldfinger track with
Shirley Bassey was recorded, in there,
506
00:39:05,040 --> 00:39:06,640
and I was on that session.
507
00:39:17,680 --> 00:39:19,040
Oh, sorry. Can we do--
508
00:39:20,080 --> 00:39:22,520
Take 11.
Overdub over the whole lot.
509
00:39:22,600 --> 00:39:25,000
John Barry is running it through.
510
00:39:37,840 --> 00:39:43,040
It's absolutely, like,
spine-chilling when it starts off,
511
00:39:43,120 --> 00:39:44,520
and I'm sort of playing along.
512
00:39:51,760 --> 00:39:54,000
And they had the enormous screen.
513
00:39:55,040 --> 00:39:59,720
And I had to sing "Goldfinger"
514
00:39:59,800 --> 00:40:03,000
to what was happening on the credits,
you know?
515
00:40:13,640 --> 00:40:18,320
I wasn't that far away from where she was.
I'm more or less in the front line of it.
516
00:40:18,400 --> 00:40:21,280
And all the orchestral stuff
is behind them.
517
00:40:21,360 --> 00:40:23,080
Fifteen, take 15.
518
00:40:23,160 --> 00:40:26,560
Right at the end of the take,
she had a really powerful voice,
519
00:40:26,640 --> 00:40:28,760
I can hear her doing
this sort of last note.
520
00:40:31,880 --> 00:40:34,760
But then when we got to the end,
and the credits didn't seem to end
521
00:40:34,840 --> 00:40:36,360
and I had to hold this note.
522
00:40:36,440 --> 00:40:38,440
And it was, like, forever.
523
00:40:47,520 --> 00:40:49,240
And the credits are going
and going and going.
524
00:40:49,320 --> 00:40:51,800
And he's going, "Hold it, hold it."
And I was like…
525
00:40:52,400 --> 00:40:55,120
-Then she collapses on the floor.
526
00:40:55,200 --> 00:40:58,360
It was absolutely so dramatic.
527
00:40:58,440 --> 00:41:01,640
And, of course, when she sings, she's
doing all the histrionics and things.
528
00:41:02,160 --> 00:41:05,880
It was something that you'd never,
never forget. Absolutely.
529
00:41:05,960 --> 00:41:10,720
They gave me water, you know,
sort of patted my hands with water--
530
00:41:10,800 --> 00:41:12,800
ice-cold water and everything. I was just…
531
00:41:13,360 --> 00:41:17,160
Cruel business, show business.
It's very cruel.
532
00:41:17,800 --> 00:41:20,280
But I had a world success with it.
533
00:41:25,640 --> 00:41:28,320
John, where would
you be today without Mr. Epstein?
534
00:41:28,840 --> 00:41:29,840
I don't know.
535
00:41:30,440 --> 00:41:34,320
I understand that, uh, Maharishi,
uh, conferred with you all.
536
00:41:34,400 --> 00:41:37,040
Could I ask you what he--
what advice he offered you?
537
00:41:37,920 --> 00:41:42,480
He told us to,
uh, not to get overwhelmed by grief,
538
00:41:42,560 --> 00:41:46,120
and whatever thoughts we have of Brian,
to keep them happy
539
00:41:46,200 --> 00:41:50,160
because any thoughts we have of him
will travel to him, wherever he is.
540
00:41:51,880 --> 00:41:56,720
His death creates
a monumental change in the Beatles.
541
00:41:57,520 --> 00:41:59,960
There was an anchor
they could tie themselves to.
542
00:42:00,040 --> 00:42:01,760
Who'd been with them
before they were famous.
543
00:42:01,840 --> 00:42:03,840
And that's the key thing.
That's what people need.
544
00:42:03,920 --> 00:42:08,920
They need the reference point of knowing
who they are before they become famous.
545
00:42:10,040 --> 00:42:11,040
And he'd gone.
546
00:42:12,400 --> 00:42:15,120
It can't be overemphasized.
That's what changed things.
547
00:42:16,520 --> 00:42:19,760
Oh, we were all like, "What do we do?"
548
00:42:21,480 --> 00:42:24,720
It's like what happens
when anyone exits your life.
549
00:42:25,360 --> 00:42:28,680
You have a period of grieving.
550
00:42:28,760 --> 00:42:34,160
And then you emerge, and you think,
"Well, we ought to do-- We got to do this.
551
00:42:34,240 --> 00:42:38,640
We got to make a good record now.
We've got to keep going."
552
00:42:42,440 --> 00:42:45,440
It's a decision
which voice to use, you know?
553
00:42:45,960 --> 00:42:48,600
-I think it's better quieter.
-I do too.
554
00:42:49,760 --> 00:42:51,200
It's slightly sad.
555
00:42:52,200 --> 00:42:54,440
I had a guitar very similar to this.
556
00:42:54,960 --> 00:42:58,920
And, um, I'd just written it.
557
00:42:59,000 --> 00:43:06,000
And, actually, the soundman has put
a cloth here so my foot won't bang.
558
00:43:06,520 --> 00:43:10,440
However, on the record, I am.
I am banging.
559
00:43:10,520 --> 00:43:11,520
And I'd go…
560
00:44:00,520 --> 00:44:01,520
Yeah.
561
00:44:01,600 --> 00:44:02,440
And then finish--
562
00:44:02,520 --> 00:44:06,000
I think that, you know,
I just sort of forgot the format.
563
00:44:06,080 --> 00:44:08,080
"Bebe Daniels," take one!
564
00:44:08,560 --> 00:44:11,960
When it came to the White Album,
I loved the White Album 'cause we--
565
00:44:12,040 --> 00:44:15,720
It wasn't really mentioned,
but we knew we wanna be a band again.
566
00:44:16,920 --> 00:44:19,520
And, uh, my favorite track is "Yer Blues."
567
00:44:19,600 --> 00:44:22,760
Where we took everything into a room…
568
00:44:25,480 --> 00:44:27,120
not as big as this carpet.
569
00:44:40,280 --> 00:44:41,920
We just, like, rocked it.
570
00:44:42,000 --> 00:44:46,920
We just, you know, turned into
this incredible, closest band.
571
00:44:57,400 --> 00:45:00,360
It's one of
the all-time great memories for me.
572
00:45:05,440 --> 00:45:08,520
Abbey Road was the album
I didn't think would ever be made.
573
00:45:09,400 --> 00:45:13,840
Because, prior to Abbey Road,
we had recorded an album called Let It Be.
574
00:45:15,160 --> 00:45:16,960
It was an unhappy record.
575
00:45:17,040 --> 00:45:20,040
I was losing control.
Uh, my voice wasn't heard.
576
00:45:20,120 --> 00:45:22,000
And I got very dispirited indeed.
577
00:45:22,560 --> 00:45:26,360
Let It Be fragmented
and distorted them as people,
578
00:45:26,440 --> 00:45:28,440
and they just abandoned it.
579
00:45:29,480 --> 00:45:32,320
And Paul McCartney phoned up Dad and said,
580
00:45:32,400 --> 00:45:35,160
"Listen, we wanna go back
and make a record like we did.
581
00:45:35,800 --> 00:45:37,480
And it'll be our last record."
582
00:45:37,560 --> 00:45:40,640
He said,
"Yeah, but none of the messing 'round."
583
00:45:41,200 --> 00:45:43,160
Said, "As long as you come in,
584
00:45:43,240 --> 00:45:46,960
and we make the album
like we used to make albums. Properly."
585
00:45:47,680 --> 00:45:52,280
So, I would just, you know,
write songs and then ring 'em up.
586
00:45:52,800 --> 00:45:56,040
And it was like,
"Hi, Ringo. How you doing?"
587
00:45:56,120 --> 00:45:58,920
-We knew it's Paul.
588
00:45:59,960 --> 00:46:02,360
And Paul would call and say,
"Hey, all right, lads."
589
00:46:02,440 --> 00:46:05,800
"Um, what do you think about,
you know, making a new album?"
590
00:46:06,400 --> 00:46:07,880
"Should we go back in the studio?"
591
00:46:07,960 --> 00:46:08,960
"Oh."
592
00:46:09,480 --> 00:46:11,640
'Cause they were quite happy sunbathing.
593
00:46:11,720 --> 00:46:15,280
If it hadn't have been for him, we'd have
made, like, three albums.
594
00:46:15,360 --> 00:46:17,280
Instead of eight.
595
00:46:18,040 --> 00:46:23,680
So, we came back in here
and did the album that became Abbey Road.
596
00:46:50,320 --> 00:46:53,200
We were in one
of the studio's control rooms
597
00:46:53,280 --> 00:46:56,200
and starting to mix the album.
598
00:46:56,280 --> 00:46:58,240
And we were thinking,
"What are we gonna call it?"
599
00:46:58,320 --> 00:46:59,800
We didn't think Abbey Road.
600
00:46:59,880 --> 00:47:04,360
We thought, the next album, we've got to
go to, like, Egypt and the pyramids.
601
00:47:04,440 --> 00:47:07,960
Or we have to go to
some volcano in Hawaii.
602
00:47:08,040 --> 00:47:11,200
You know, we always had
these big conversations.
603
00:47:11,880 --> 00:47:14,920
And then we said, "Ah, sod it.
Let's just walk across the road."
604
00:47:31,240 --> 00:47:34,640
I drew a little picture
of a level crossing with four people.
605
00:47:35,680 --> 00:47:39,160
Now, you can't drive your car
along there without getting stuck.
606
00:47:48,480 --> 00:47:52,360
The staff always referred to
EMI Studios as Abbey Road.
607
00:47:52,440 --> 00:47:53,920
But, after this album,
608
00:47:54,000 --> 00:47:59,080
Ken Townsend, the studio manager,
made it official and changed the name.
609
00:48:01,880 --> 00:48:04,720
Ken invested a huge part of his life
in Abbey Road,
610
00:48:05,520 --> 00:48:08,640
starting as a trainee engineer in 1950.
611
00:48:08,720 --> 00:48:13,720
And, eventually,
retiring as chairman in 1995.
612
00:48:14,800 --> 00:48:17,720
Abbey Road has always felt
like a family to me.
613
00:48:18,240 --> 00:48:21,600
I think it's because most of the staff
begin their careers here
614
00:48:21,680 --> 00:48:23,760
and are nurtured to work their way up.
615
00:48:24,880 --> 00:48:28,880
The technicians here
have always been top-notch.
616
00:48:29,480 --> 00:48:31,040
And it's their innovation
617
00:48:31,120 --> 00:48:35,120
that sees Abbey Road enjoy
the reputation it does today.
618
00:48:36,680 --> 00:48:39,400
They're very cool boffins
that work here.
619
00:48:39,480 --> 00:48:42,200
And they're artists
in their own right really.
620
00:48:43,080 --> 00:48:44,600
But we challenged them.
621
00:48:45,240 --> 00:48:48,400
I think it was intriguing for them.
622
00:48:48,480 --> 00:48:53,640
"Could we do that? We've never done
that before, but maybe if we did this."
623
00:48:53,720 --> 00:48:55,280
And, you know, they're boffins,
624
00:48:55,360 --> 00:48:57,840
so they're just, like,
trying to work out the enigma machine.
625
00:49:01,040 --> 00:49:04,200
When someone's got
a problem, they say, "Go and see Lester."
626
00:49:05,840 --> 00:49:08,760
If someone wants a battery,
or a nut and bolt
627
00:49:08,840 --> 00:49:13,840
or a valve, or a anything,
"Uh, Lester's got some."
628
00:49:14,480 --> 00:49:16,440
What's that you're working on, Lester?
629
00:49:17,400 --> 00:49:21,920
Uh, a 1960s microphone
that's been dropped,
630
00:49:22,000 --> 00:49:26,000
and there's the broken parts
that I'm gluing together.
631
00:49:26,080 --> 00:49:29,360
-Who dropped it?
-No one ever owns up.
632
00:49:30,520 --> 00:49:33,400
I mean, Abbey Road has
the best equipment in the world.
633
00:49:33,480 --> 00:49:36,800
Something like Dark Side Of the Moon
or Sgt. Pepper stood the test of time
634
00:49:36,880 --> 00:49:40,480
because they're great records, but they're
also technically brilliant, as well.
635
00:49:40,560 --> 00:49:41,840
And they don't sound old.
636
00:49:41,920 --> 00:49:42,920
And that's the key.
637
00:49:59,200 --> 00:50:02,600
Syd's first idea for
the name for the band was "The Tea Set."
638
00:50:03,600 --> 00:50:07,080
We got a gig, and, um, they said,
"You can't be 'The Tea Set.'"
639
00:50:08,240 --> 00:50:10,560
"We've already got
a band called 'The Tea Set.'"
640
00:50:12,440 --> 00:50:15,600
And that's when Syd came up
with the name Pink Floyd.
641
00:50:25,320 --> 00:50:28,080
We'd signed a deal, uh, with EMI.
642
00:50:28,800 --> 00:50:31,920
And that sort of brought us here.
643
00:50:32,000 --> 00:50:34,960
And we were in Studio Three,
644
00:50:35,040 --> 00:50:36,400
which is where we are now.
645
00:50:37,920 --> 00:50:39,920
And the Beatles were in Studio Two.
646
00:50:41,640 --> 00:50:44,480
And we were--
I won't say "granted an audience,"
647
00:50:44,560 --> 00:50:47,680
but there was an invitation to go
and sort of see what was going on.
648
00:50:48,680 --> 00:50:53,200
Yeah, it was very much a sense of we were
the new boys, and they were the prefects.
649
00:50:56,960 --> 00:51:00,680
It's a sort of fascinating
kind of piece of history.
650
00:51:00,760 --> 00:51:04,160
Oh, my goodness. We were in Abbey Road
when they were making Sgt. Pepper
651
00:51:04,240 --> 00:51:06,240
and we were making our first album.
652
00:51:08,760 --> 00:51:10,640
And, um, it came out,
653
00:51:11,880 --> 00:51:16,440
and we were driving up to a gig somewhere
in the north of England in a Zephyr Six.
654
00:51:16,520 --> 00:51:22,320
And June Child, who was driving us,
pulled over into a lay-by.
655
00:51:22,400 --> 00:51:23,400
Ooh, and it was about--
656
00:51:23,480 --> 00:51:29,240
And we sat in a lay-by and listened, uh,
to Sgt. Pepper, and I was just…
657
00:51:34,200 --> 00:51:36,880
And it was. And it is, obviously.
658
00:51:38,160 --> 00:51:45,080
And I believe it freed a whole generation
of young Englishmen and women
659
00:51:45,160 --> 00:51:49,080
to be given permission to write songs
about real things.
660
00:51:49,160 --> 00:51:55,600
And having the courage
to accept your feelings.
661
00:52:06,960 --> 00:52:11,040
Uh, I became a member
of Pink Floyd because, um, Syd Barrett,
662
00:52:11,120 --> 00:52:16,000
my predecessor and my friend,
um, had lost his marbles.
663
00:52:16,080 --> 00:52:17,800
Not to put too fine a point on it.
664
00:52:21,040 --> 00:52:23,400
It was his band. He had basically, um--
665
00:52:23,480 --> 00:52:27,320
I mean, he didn't start it,
but he was the very obvious talent.
666
00:52:27,400 --> 00:52:32,720
I mean, he was a poet and a painter
and a very talented guy.
667
00:52:32,800 --> 00:52:36,280
And, um, he was two to three years younger
than all the others,
668
00:52:36,360 --> 00:52:40,520
but he was definitely in charge
in his brief tenure.
669
00:52:44,920 --> 00:52:48,800
And, uh, and when he went,
he went so fast.
670
00:52:49,560 --> 00:52:52,440
And so completely and utterly gone,
you know?
671
00:52:52,520 --> 00:52:53,840
And never came back.
672
00:52:55,200 --> 00:52:56,280
It was, um…
673
00:52:57,920 --> 00:53:01,800
It was deeply, deeply,
deeply shocking, and still is.
674
00:53:19,600 --> 00:53:22,440
The great thing about Abbey Road
in those days,
675
00:53:22,520 --> 00:53:26,160
was that they were
all the same people working there
676
00:53:26,240 --> 00:53:27,800
when we made that first record,
677
00:53:27,880 --> 00:53:31,280
as were still working there when
we made Dark Side of the Moon.
678
00:53:31,360 --> 00:53:35,000
Which was, like, six years later
or something like that.
679
00:53:49,720 --> 00:53:51,800
There are many things
that make it very, very good.
680
00:53:51,880 --> 00:53:53,680
The lyrics are very, very good,
681
00:53:53,760 --> 00:53:56,920
and Roger's concept and lyrics,
you know, was…
682
00:53:57,880 --> 00:54:02,360
Yeah, I think he had taken
a step forward in, um, his abilities.
683
00:54:03,040 --> 00:54:04,120
So…
684
00:54:04,200 --> 00:54:05,800
And all those things together
685
00:54:07,040 --> 00:54:11,720
tie up into something that's, um,
yeah, has obviously worked.
686
00:54:16,720 --> 00:54:17,560
And the struggle…
687
00:54:17,640 --> 00:54:18,800
Feedback jump.
688
00:54:18,880 --> 00:54:20,000
…was part of, um…
689
00:54:20,080 --> 00:54:21,480
Don't worry about that.
690
00:54:21,560 --> 00:54:23,520
…what made it interesting.
691
00:54:23,600 --> 00:54:25,240
And what made it work.
692
00:54:25,320 --> 00:54:26,400
Right.
693
00:54:27,480 --> 00:54:29,440
Where would rock and roll be
without feedback?
694
00:54:33,920 --> 00:54:37,000
There are nostalgic,
um, moments of thinking,
695
00:54:37,080 --> 00:54:40,640
"God, you know,
some of those fights were really ugly,"
696
00:54:40,720 --> 00:54:43,640
but, you know,
you were still back at it the next day.
697
00:54:43,720 --> 00:54:47,720
And the fights were about getting
the very, very best
698
00:54:47,800 --> 00:54:51,280
and, um, having disagreements
about how that could be achieved.
699
00:54:51,360 --> 00:54:53,520
Could you get me a fruit pie and cream?
700
00:54:53,600 --> 00:54:55,800
I don't know.
I was really drunk at the time.
701
00:54:57,320 --> 00:55:00,640
Dave always wanted the voices
to be so you couldn't hear them.
702
00:55:00,720 --> 00:55:03,720
And I'd go,
"Well, no. No, you gotta be a--
703
00:55:03,800 --> 00:55:06,120
If you can't hear it,
what's the point of it?"
704
00:55:06,200 --> 00:55:08,880
So it was like that. It was just…
705
00:55:12,440 --> 00:55:13,960
We were young and arrogant
706
00:55:14,040 --> 00:55:17,840
and thought we knew exactly what we want
to do and how we wanted to do it.
707
00:55:17,920 --> 00:55:20,600
And wouldn't listen to good advice
half the time.
708
00:55:20,680 --> 00:55:24,120
-So that's the one.
709
00:55:24,200 --> 00:55:25,880
Suspect there's things you have to do.
710
00:55:25,960 --> 00:55:30,040
You have to have a lot of self-belief,
and you could call it arrogance.
711
00:55:36,080 --> 00:55:38,280
I think it's a really good record.
712
00:55:38,360 --> 00:55:40,920
I think it's really well crafted.
713
00:55:41,480 --> 00:55:45,960
And of course, you know,
Rick contributed "Great Gig in the Sky."
714
00:55:46,480 --> 00:55:48,480
And let's not forget "Us and Them."
715
00:55:50,200 --> 00:55:51,360
And it's a great song.
716
00:55:51,440 --> 00:55:55,440
I'm so glad that I have that collaboration
with Rick from those days.
717
00:55:55,520 --> 00:55:58,680
'Cause he-- You know,
he had something very special.
718
00:56:07,960 --> 00:56:11,960
When you're making an album,
you record everything separately.
719
00:56:12,720 --> 00:56:18,760
So, you've never listened to the whole
of what you're doing until it's all done.
720
00:56:21,160 --> 00:56:25,160
And then press the play button, then you
sit there and listen to a whole album.
721
00:56:27,000 --> 00:56:29,800
Um, it's absolutely magical.
722
00:56:29,880 --> 00:56:33,920
It was the--
I mean, the best time I ever heard it.
723
00:56:34,520 --> 00:56:36,920
I took it home, okay?
724
00:56:37,000 --> 00:56:40,000
And I played it to Judy,
who was my first wife.
725
00:56:41,320 --> 00:56:42,640
And when it finished,
726
00:56:44,400 --> 00:56:46,480
I turned to say, "What do you think?"
Like that.
727
00:56:46,560 --> 00:56:48,160
And she was sitting there crying.
728
00:56:54,080 --> 00:56:55,120
Look at that."
729
00:56:56,760 --> 00:56:58,840
That is very special.
730
00:57:08,880 --> 00:57:13,880
We achieved something
in Pink Floyd with that record.
731
00:57:13,960 --> 00:57:16,880
And we could well have gone…
…"We're done."
732
00:57:16,960 --> 00:57:18,120
Like the Beatles did.
733
00:57:18,720 --> 00:57:21,720
But we didn't.
We were too frightened to do that.
734
00:57:21,800 --> 00:57:25,200
And, in a way,
I'm kind of glad that we did struggle on.
735
00:57:26,080 --> 00:57:28,880
Um,
because we did some good work after that.
736
00:57:28,960 --> 00:57:30,880
You know, there's Wish You Were Here
and Animals
737
00:57:30,960 --> 00:57:32,560
and The Wall and The Final Cut.
738
00:57:32,640 --> 00:57:34,920
We made those four albums together.
739
00:57:35,560 --> 00:57:40,960
And they're a pretty solid,
you know, block of work.
740
00:57:50,760 --> 00:57:52,120
Well, it's--
741
00:57:52,200 --> 00:57:56,760
How can one not be extremely pleased
to have been so fortunate as
742
00:57:56,840 --> 00:58:02,760
to have had something that has clicked
with, uh, the world's music listeners
743
00:58:03,360 --> 00:58:06,200
so deeply and for so long
744
00:58:06,280 --> 00:58:10,680
over all these, um,
nearly 50 years since it came out?
745
00:58:10,760 --> 00:58:12,080
It just seems, um…
746
00:58:13,400 --> 00:58:18,400
It just seems quite extraordinary to me
that that is-- can be done.
747
00:58:38,680 --> 00:58:43,400
The first time I met Fela
was here in Studio Three.
748
00:58:44,520 --> 00:58:46,600
He was an obvious leader. You knew that.
749
00:58:46,680 --> 00:58:49,360
You meet some people,
they have that charisma about them,
750
00:58:49,440 --> 00:58:52,680
so you know that they're
a strong personality.
751
00:58:52,760 --> 00:58:54,440
But he was absolutely charming.
752
00:58:54,520 --> 00:58:57,320
The minute he walked into the studio
with the musicians,
753
00:58:58,040 --> 00:58:59,560
he became a different person.
754
00:58:59,640 --> 00:59:03,680
He became this magical music man.
755
00:59:03,760 --> 00:59:04,760
Jeff.
756
00:59:04,840 --> 00:59:06,600
-Yeah?
-I want to take--
757
00:59:06,680 --> 00:59:08,720
-We'll take it, uh, Fela.
-You take it.
758
00:59:08,800 --> 00:59:11,160
So that was
on the first day of recording.
759
00:59:11,240 --> 00:59:14,440
Oh, I think we recorded pretty much
a whole album on that first session.
760
00:59:14,520 --> 00:59:16,480
When the light's on. Here we go.
761
00:59:16,560 --> 00:59:19,680
One, two, three, four.
762
00:59:29,800 --> 00:59:32,920
-No. I'm tired. Let's play back.
-That's fine for me though.
763
00:59:43,560 --> 00:59:47,600
I was born in 1936,
and I joined Fela's band
764
00:59:47,680 --> 00:59:50,160
1965, February.
765
00:59:52,520 --> 00:59:55,520
My role was to play
the baritone saxophone.
766
00:59:59,880 --> 01:00:04,680
At that time, his recording company
wanted him to record in Nigeria,
767
01:00:04,760 --> 01:00:08,200
but the studios were not very good.
768
01:00:10,680 --> 01:00:14,920
So Fela was the very reason why we went
769
01:00:15,000 --> 01:00:18,640
to Abbey Road Studios in London.
770
01:00:19,880 --> 01:00:23,200
Because he insisted on recording
771
01:00:24,080 --> 01:00:26,720
in a standout studio.
772
01:00:30,840 --> 01:00:37,240
On the second time that we were
in the studios, Ginger Baker came along.
773
01:00:38,280 --> 01:00:44,720
And we had arranged to record
that particular album live that night.
774
01:00:44,800 --> 01:00:46,360
I'd like you to meet Ginger Baker!
775
01:00:46,440 --> 01:00:47,960
Everybody, big hand. Come on, everybody.
776
01:00:49,000 --> 01:00:51,440
People already knew we were coming.
777
01:00:51,520 --> 01:00:54,560
Fela himself, he had friends.
778
01:00:54,640 --> 01:00:59,240
And of course some of us
had our friends over there,
779
01:00:59,320 --> 01:01:02,800
and so the news spread like a wildfire.
780
01:01:02,880 --> 01:01:03,920
"Fela is in town!
781
01:01:04,000 --> 01:01:05,960
-Fela is in town with his band."
-Yeah.
782
01:01:07,000 --> 01:01:09,040
Don't worry now.
That's enough. That's enough.
783
01:01:09,120 --> 01:01:11,960
The record is moving.
The record is moving. Now, let's start.
784
01:01:14,160 --> 01:01:16,440
One, two, three, four.
785
01:01:26,440 --> 01:01:29,040
We had the late Tony Allen.
786
01:01:29,560 --> 01:01:31,160
Allen was on drums.
787
01:01:31,240 --> 01:01:35,200
And then we had Ginger Baker on drums too.
788
01:01:36,600 --> 01:01:37,600
Before we left,
789
01:01:37,680 --> 01:01:41,960
we had already rehearsed the songs
that we were going to record.
790
01:01:42,840 --> 01:01:44,360
Very, very important,
791
01:01:44,880 --> 01:01:49,080
because by the time you decided
to go to the studio,
792
01:01:49,680 --> 01:01:52,920
the whole sound is in everybody's body.
793
01:02:22,640 --> 01:02:28,280
It was received worldwide,
not only in Africa or Nigeria.
794
01:02:29,000 --> 01:02:30,360
All over the world.
795
01:02:30,440 --> 01:02:35,000
And today you can-- you can testify to
the fact that Fela is everywhere.
796
01:02:39,600 --> 01:02:40,640
Yeah.
797
01:02:44,320 --> 01:02:48,240
Here, what's the
difference between EMI and the Titanic?
798
01:02:48,320 --> 01:02:50,400
At least the Titanic had a good band.
799
01:02:56,520 --> 01:03:00,440
1979 has been
a year of despair for the record industry.
800
01:03:00,520 --> 01:03:04,840
Profits have plummeted and the '60s bands
just aren't selling records anymore.
801
01:03:17,320 --> 01:03:20,400
I started in, uh, May 1979.
802
01:03:21,360 --> 01:03:23,200
There was lots of smaller studios
springing up
803
01:03:23,280 --> 01:03:24,800
all over the place at that time.
804
01:03:24,880 --> 01:03:28,840
And, you know, in fairness we were--
we were more expensive.
805
01:03:30,440 --> 01:03:34,240
I'd get phone calls
from Ken Townsend who had run the studio.
806
01:03:34,320 --> 01:03:38,560
And he'd say, "Oh, you know, another
group has taken over the ownership,
807
01:03:38,640 --> 01:03:42,080
and they've come in and they brought in
accountants who are saying,
808
01:03:42,160 --> 01:03:44,560
'Do we need all this rubbish?
What is this?
809
01:03:44,640 --> 01:03:46,240
Get rid of this! Sell it all.'"
810
01:03:46,880 --> 01:03:48,280
And he said, "Would you take it?
811
01:03:48,360 --> 01:03:52,160
You know, 'cause I wanna see it's got
a good home. Someone who cares about it."
812
01:03:52,240 --> 01:03:54,520
So I took a lot of that equipment.
813
01:03:54,600 --> 01:03:59,480
This is what happened. 1980.
We had so much stuff.
814
01:04:00,400 --> 01:04:03,880
We had a two-day sale.
A Saturday and a Sunday.
815
01:04:03,960 --> 01:04:05,920
Everything was
about Abbey Road for Ken.
816
01:04:06,000 --> 01:04:10,720
It was for the good of Abbey Road.
And he-- he fought as hard as he could.
817
01:04:10,800 --> 01:04:13,960
Because sometimes we weren't quite as busy
as we should've been.
818
01:04:17,200 --> 01:04:20,840
Number One stayed empty
for month after month.
819
01:04:20,920 --> 01:04:25,840
We laid out white sticky tape, uh,
for our badminton area,
820
01:04:26,440 --> 01:04:28,840
and we used to go in there
every lunchtime.
821
01:04:34,040 --> 01:04:36,160
There was all sorts of rumors
going around
822
01:04:36,240 --> 01:04:40,280
that we might change
it into a lot of smaller size rooms.
823
01:04:40,360 --> 01:04:43,160
And I think there was even talk
about turning it into a car park.
824
01:04:43,240 --> 01:04:45,160
But, I mean,
I always thought that was ridiculous.
825
01:04:45,240 --> 01:04:47,080
But then somebody said they saw the plans.
826
01:04:48,240 --> 01:04:50,080
So yes, something had to be done.
827
01:04:50,160 --> 01:04:52,240
We needed to move into another area.
828
01:05:04,640 --> 01:05:09,000
Our arrival at Abbey Road was--
was a happy thing.
829
01:05:09,080 --> 01:05:12,040
We had a wonderful movie.
Harrison Ford was fabulous.
830
01:05:12,120 --> 01:05:16,480
Everyone was in a great mood.
I just remember playing that silly march
831
01:05:16,560 --> 01:05:19,800
and having the trumpets blow the roof
off the place and it was great fun.
832
01:05:26,240 --> 01:05:29,320
There was a big scoring stage
down in Denham.
833
01:05:29,400 --> 01:05:31,680
And we heard that that was closing down,
834
01:05:31,760 --> 01:05:36,520
and I think Ken approached them about
maybe bringing their operation down to us.
835
01:05:37,360 --> 01:05:39,080
We had to buy the projectors.
836
01:05:39,160 --> 01:05:41,720
We had a 35 mil projector in Studio One
837
01:05:41,800 --> 01:05:45,520
and an eight-foot screen in Studio One,
as well.
838
01:05:45,600 --> 01:05:48,480
It was another means of income
for Abbey Road.
839
01:05:48,560 --> 01:05:51,080
And we needed it to be able to survive.
840
01:05:54,280 --> 01:05:56,160
We all loved London.
841
01:05:56,680 --> 01:05:59,400
An American group coming,
and we were so happy to be there.
842
01:05:59,480 --> 01:06:01,160
We loved it so much.
843
01:06:01,240 --> 01:06:05,160
The whole atmosphere of the studio
was so different.
844
01:06:05,800 --> 01:06:08,200
Abbey Road was sort of younger
and lighter,
845
01:06:08,280 --> 01:06:09,760
and we just had a great time.
846
01:06:10,320 --> 01:06:13,560
And then the film came out,
and the audience loved it.
847
01:06:13,640 --> 01:06:16,680
So things were right. Things were working.
848
01:06:17,360 --> 01:06:20,360
And there wasn't any question
that we would come back to Abbey Road.
849
01:06:20,440 --> 01:06:23,800
Always knew someday
you'd come walking back through my door.
850
01:06:23,880 --> 01:06:27,400
John Williams and George Lucas
came back to do Return of the Jedi
851
01:06:27,480 --> 01:06:29,560
which was, again, pretty amazing.
852
01:06:29,640 --> 01:06:33,320
Part of the Star Wars franchise.
I mean, who doesn't want to do Star Wars?
853
01:06:45,560 --> 01:06:49,000
I first began to work
on the score for Star Wars.
854
01:06:49,080 --> 01:06:51,400
It emerged more and more every day
as I wrote more
855
01:06:51,480 --> 01:06:53,320
that this score needs
a symphony orchestra.
856
01:06:53,400 --> 01:06:57,040
It can't just be a pickup band
of some certain amount of players.
857
01:06:58,080 --> 01:07:00,960
And our music director at Fox Studios
said to her,
858
01:07:01,040 --> 01:07:04,000
"Why don't you hire a symphony orchestra
in London?"
859
01:07:04,080 --> 01:07:05,680
And I said, "Well, great. Let's do it.
860
01:07:05,760 --> 01:07:08,200
We'll try it with the London Symphony
Orchestra." Which we did.
861
01:07:09,520 --> 01:07:12,680
And that was thrilling for me.
I said at the time and I say it now,
862
01:07:12,760 --> 01:07:14,640
it's kind of like driving a Rolls,
you know?
863
01:07:14,720 --> 01:07:17,760
You think, "Oh, whoopee, this is--
Wow, what a-- what a sound.
864
01:07:17,840 --> 01:07:20,640
What perfection.
What balance, you know? What sonority."
865
01:07:25,360 --> 01:07:31,960
The real thrill was going to Abbey Road,
hearing it with a full orchestra.
866
01:07:32,040 --> 01:07:34,840
'Cause they would run through it
once just to play it,
867
01:07:34,920 --> 01:07:37,080
to see how-- where they were.
868
01:07:37,160 --> 01:07:39,360
6-M-7 new. Take 106.
869
01:07:39,440 --> 01:07:41,560
It was amazing. You know, it was like…
870
01:07:41,640 --> 01:07:43,400
Suddenly, it was like
opening a Christmas present.
871
01:08:05,840 --> 01:08:10,080
We went to Abbey Road because
it was available and it could do the work,
872
01:08:10,160 --> 01:08:13,760
and we stayed there and wanted to
come back because it did it so well.
873
01:08:14,840 --> 01:08:18,800
There's no reason to think that we'd ever
wanna go anywhere else to this day.
874
01:08:18,880 --> 01:08:20,120
Perfect.
875
01:08:20,200 --> 01:08:21,960
-And, uh--
-Just-- Just what it needed.
876
01:08:22,040 --> 01:08:23,040
-Good.
-It took…
877
01:08:23,120 --> 01:08:26,560
The recording session was
the most fun part. Especially with Johnny.
878
01:08:26,640 --> 01:08:29,040
And it was like a second home.
879
01:08:30,160 --> 01:08:32,320
You know, you'd go in
and you'd go to the canteen,
880
01:08:32,400 --> 01:08:33,760
they had pictures on the walls.
881
01:08:33,840 --> 01:08:37,320
And you did spend
eight to ten hours a day there.
882
01:08:38,040 --> 01:08:41,040
So it's an important space to be in
that's comfortable.
883
01:08:41,120 --> 01:08:43,560
Well, the canteen is
a particularly British thing, you know?
884
01:08:43,640 --> 01:08:44,880
We don't have that.
885
01:08:44,960 --> 01:08:49,480
Well, we have studio commissaries,
uh, but they don't serve alcohol.
886
01:08:49,560 --> 01:08:54,520
It didn't seem to extend the length
of the intermissions that I noticed.
887
01:08:54,600 --> 01:08:57,960
And everyone came back from lunch
maybe a little more relaxed.
888
01:08:58,040 --> 01:08:59,280
Which was good.
889
01:09:01,440 --> 01:09:03,120
-Ah!
890
01:09:03,200 --> 01:09:04,280
This piece is beautiful.
891
01:09:04,360 --> 01:09:05,960
-Does it work all right?
-Yeah, it works great.
892
01:09:06,880 --> 01:09:08,080
That's a key scene there.
893
01:09:10,920 --> 01:09:14,400
Abbey Road is
very, very special. Very individual.
894
01:09:16,120 --> 01:09:20,400
The room has a sound.
It makes a noise that is its own.
895
01:09:22,040 --> 01:09:25,680
It didn't seem perfect by size
and configuration. Seemed too small.
896
01:09:27,800 --> 01:09:29,880
It's a little-- little bit of a shoebox.
897
01:09:29,960 --> 01:09:35,360
You know, whereas the old shooting stages,
something like we had in Hollywood,
898
01:09:35,440 --> 01:09:37,440
have a huge amount of volume.
899
01:09:37,520 --> 01:09:40,720
So it's a--
a very long echo and a beautiful bloom,
900
01:09:41,600 --> 01:09:46,160
which can detract from the articulation
and specific instruments.
901
01:09:53,200 --> 01:09:57,760
Abbey Road seemed perfect.
It was dry enough. Not too reverberant.
902
01:09:57,840 --> 01:10:01,480
And-- And-- And not so dry
that it didn't have a nice bloom about it.
903
01:10:01,560 --> 01:10:03,800
It has a nice face, a nice sound.
904
01:10:03,880 --> 01:10:06,120
Okay, Shawn. We can take, please.
905
01:10:06,200 --> 01:10:08,880
Ideal, really,
for that size orchestra
906
01:10:08,960 --> 01:10:10,440
and that kind of work.
907
01:10:11,160 --> 01:10:13,120
It's a gift to music, I have to tell you.
908
01:10:27,680 --> 01:10:29,520
And I haven't gone around
and tapped the walls,
909
01:10:29,600 --> 01:10:31,720
but whatever they are, they're right.
910
01:10:31,800 --> 01:10:33,600
I don't believe
there's another studio in London
911
01:10:33,680 --> 01:10:36,280
that's anything close with it,
that I know of.
912
01:10:36,360 --> 01:10:38,000
Or perhaps in the world.
913
01:10:42,840 --> 01:10:44,000
Bravo. Intermission.
914
01:11:01,000 --> 01:11:03,760
We started Be Here Now here in '97.
915
01:11:03,840 --> 01:11:07,920
In-- In '97, we were a bit boisterous
and we were asked to leave.
916
01:11:08,400 --> 01:11:09,480
Uh...
917
01:11:10,080 --> 01:11:13,400
Which we were quite proud of at the time.
Getting kicked out of Abbey Road is--
918
01:11:13,480 --> 01:11:15,160
The Stones
never got kicked out of anywhere.
919
01:11:15,240 --> 01:11:17,360
Well, I may remember
having a party here one night.
920
01:11:17,440 --> 01:11:20,160
I mean, there was talk of us getting
kicked out of here. That never happened.
921
01:11:20,240 --> 01:11:21,520
I don't think.
922
01:11:21,600 --> 01:11:25,760
And we smashed it all up.
Whoever come in here and smash things up
923
01:11:25,840 --> 01:11:27,600
needs smashing up themselves.
You know what I mean?
924
01:11:27,680 --> 01:11:29,480
That would never have happened.
You know what I mean?
925
01:11:29,560 --> 01:11:34,040
Oh, the reason we got asked to leave was
926
01:11:34,880 --> 01:11:38,160
we were in here one night and we--
all the lights were off,
927
01:11:38,240 --> 01:11:41,800
and we played all the Beatles albums
back-to-back in the dark,
928
01:11:42,560 --> 01:11:44,080
at excruciating volume.
929
01:11:44,160 --> 01:11:46,320
And I think
one of the things got blown up.
930
01:11:50,400 --> 01:11:52,400
I remember us staying here one night late
931
01:11:52,480 --> 01:11:54,760
and we were all just, like,
sort of just spaced out,
932
01:11:54,840 --> 01:11:57,240
like, just in corners just, like,
having a little drink,
933
01:11:57,320 --> 01:12:00,720
listening to Rubber Soul and Pepper,
and all that stuff and…
934
01:12:00,800 --> 01:12:02,560
That's about as mad as it got.
You know what I mean?
935
01:12:04,400 --> 01:12:07,800
When we did our last record, uh, together,
so we did the entire thing here.
936
01:12:10,320 --> 01:12:14,000
The second time they came in,
we were a bit more prepared for them,
937
01:12:14,080 --> 01:12:16,840
and we set up a kind of cozy area
in the studio for them.
938
01:12:17,920 --> 01:12:20,920
Put settees in,
so if they wanted to relax and things.
939
01:12:22,800 --> 01:12:26,800
I remember going downstairs
and it was about 9:00 in the morning,
940
01:12:26,880 --> 01:12:30,120
and Liam appeared
all dressed up with this really nice hat.
941
01:12:30,960 --> 01:12:33,240
And, um, I said,
"Oh! Hello. You're here early.
942
01:12:33,320 --> 01:12:35,720
We weren't expecting you, you know,
quite as early as this."
943
01:12:35,800 --> 01:12:38,760
And he goes, "I've been up for ages
trying to decide what to wear
944
01:12:38,840 --> 01:12:40,520
for my first day at Abbey Road."
945
01:12:48,960 --> 01:12:51,440
I'd be the first in here
and I'd be the last one out.
946
01:12:51,520 --> 01:12:53,520
You got to feel it, haven't you?
You know what I mean?
947
01:12:53,600 --> 01:12:55,320
You got-- You can't just pop in and…
948
01:12:55,920 --> 01:12:58,320
You know, like,
"Give us a shout when-- when I'm needed."
949
01:12:58,400 --> 01:12:59,800
I can't have that. You know what I mean?
950
01:12:59,880 --> 01:13:05,000
You gotta let it all seep into your veins.
You know what I mean?
951
01:13:05,080 --> 01:13:06,520
And your soul and that, I think.
952
01:13:08,200 --> 01:13:11,400
No, it was like going to church, innit?
Coming to Abbey Road.
953
01:13:11,480 --> 01:13:13,120
I think that might've been the end of it.
954
01:13:13,200 --> 01:13:16,720
I think that was the last record, sort of.
Dig Out Your Soul.
955
01:13:25,400 --> 01:13:30,480
You know, a-- a huge, massive part of my
record collection was made in this room.
956
01:13:31,120 --> 01:13:33,520
My musical language was born in this room.
957
01:13:33,600 --> 01:13:35,480
My hairstyle was born in this room.
958
01:13:36,600 --> 01:13:40,080
There was no bigger Beatles fans than us
than maybe the Beatles themselves.
959
01:13:44,160 --> 01:13:49,480
It must've been such a privilege to be
in your 20s in the '60s.
960
01:13:49,560 --> 01:13:52,480
You know, it starts with the Beatles,
and then The Stones appear,
961
01:13:52,560 --> 01:13:54,280
and then The Who,
and then The Kinks and all that.
962
01:13:54,360 --> 01:13:55,840
I mean, what a time to be alive, you know?
963
01:13:55,920 --> 01:13:57,400
That's drugs for you, innit?
964
01:13:58,880 --> 01:13:59,960
Do you know what I mean?
965
01:14:00,040 --> 01:14:03,560
Or maybe not. All this whatever--
the swinging-- Whatever it was.
966
01:14:03,640 --> 01:14:09,160
It was like it all went a bit from the war
period and all that to just like a bit of…
967
01:14:09,240 --> 01:14:12,280
You know, people will call it drugs,
people will call it this and that.
968
01:14:12,360 --> 01:14:14,640
People will call it the miniskirt,
people will call it everything,
969
01:14:14,720 --> 01:14:16,680
but you could just see everyone
just seem to go.
970
01:14:16,760 --> 01:14:18,400
Let their hair down a little bit.
971
01:14:20,520 --> 01:14:24,920
Subsequent generations
tend to look back a bit more.
972
01:14:25,000 --> 01:14:28,880
Whereas that generation
that came out of the horrors of the war,
973
01:14:28,960 --> 01:14:31,040
there was nothing to be nostalgic about.
974
01:14:32,560 --> 01:14:35,280
Rationing and the Blitz. No, thanks.
975
01:14:35,360 --> 01:14:37,000
So they were forward-looking.
976
01:14:37,080 --> 01:14:38,120
And God bless them, you know,
977
01:14:38,200 --> 01:14:42,840
because they gave us some of
the greatest musical art of all time.
978
01:14:55,720 --> 01:14:58,360
Abbey Road is
just not a studio of the past.
979
01:14:59,080 --> 01:15:01,240
But it is certainly
a studio of the future.
980
01:15:05,160 --> 01:15:07,600
Maybe it's just because
I'm old school
981
01:15:07,680 --> 01:15:12,800
and because I love what Abbey Road
represents in my life, I wanna share that.
982
01:15:12,880 --> 01:15:18,640
Because people taught me music
by sharing with me
983
01:15:18,720 --> 01:15:21,720
what other music had meant in their life.
984
01:15:21,800 --> 01:15:23,800
-Elyse.
-Hey! Oh, that's how you pronounce it.
985
01:15:23,880 --> 01:15:25,000
Yes.
986
01:15:25,080 --> 01:15:30,640
So many massive
rock-and-roll records were made here.
987
01:15:31,440 --> 01:15:36,240
Uh, people don't believe
that it was just done by accident.
988
01:15:39,720 --> 01:15:43,920
They think that there is
some magical thing in Abbey Road.
989
01:15:44,000 --> 01:15:48,800
The truth of the matter is I feel like
that magical thing exists in the artist.
990
01:15:50,920 --> 01:15:53,800
But artists are superstitious.
991
01:15:55,720 --> 01:15:59,120
And Abbey Road in a strange way,
as soon as we walk in,
992
01:15:59,920 --> 01:16:06,800
a lot of that bonding that needs
to take place between artists and producer
993
01:16:06,880 --> 01:16:09,080
happens almost instantly.
994
01:16:12,400 --> 01:16:19,240
So, I find that Abbey Road is
the great leveler in our relationship.
995
01:16:24,320 --> 01:16:25,840
It doesn't matter what your, like,
996
01:16:25,920 --> 01:16:27,760
-taste in music is or--
-Different passions.
997
01:16:27,840 --> 01:16:29,800
Yeah. Or what your passions are.
998
01:16:29,880 --> 01:16:35,160
They do lie on like-- in the walls
and on the desks and everything here.
999
01:16:35,240 --> 01:16:40,800
So it's like coming is-- It's almost like
being able to smell the inspiration.
1000
01:16:40,880 --> 01:16:43,240
-It's just, like, "Ah! I'm in this room…"
-Yeah.
1001
01:16:43,320 --> 01:16:45,080
"…that so-and-so once sat in."
1002
01:16:45,160 --> 01:16:47,000
And it then makes you feel like
1003
01:16:47,080 --> 01:16:49,720
-you can be part of Abbey Road's history.
-Yeah.
1004
01:16:52,080 --> 01:16:53,240
I'm so excited.
1005
01:16:53,320 --> 01:16:56,200
As far as I'm concerned,
that's the record. Just leave here.
1006
01:16:56,280 --> 01:16:58,040
-Thank you!
1007
01:16:58,640 --> 01:17:01,600
-That's the right start.
-It's cool though.
1008
01:17:01,680 --> 01:17:04,440
Yeah, "Whoop! Good God!"
1009
01:17:07,400 --> 01:17:10,480
Making this film
and collecting these stories,
1010
01:17:10,560 --> 01:17:15,360
I've found artists are inspired to push
creative boundaries within these walls.
1011
01:17:16,880 --> 01:17:20,600
Like Kate Bush,
who brought her third album here,
1012
01:17:20,680 --> 01:17:23,480
which saw her start to produce
her own music.
1013
01:17:27,080 --> 01:17:29,000
We were working in Studio Two.
1014
01:17:29,080 --> 01:17:32,120
It still had the valve desk
that the Beatles had used.
1015
01:17:33,720 --> 01:17:37,400
And the live room was completely untouched
since they'd been there.
1016
01:17:38,200 --> 01:17:42,120
There was a genuine fear that the
sound in the room might be changed
1017
01:17:42,200 --> 01:17:43,840
if they even repainted it.
1018
01:17:52,880 --> 01:17:56,880
We shot the video for the song
"Sat In Your Lap" in Studio Two.
1019
01:18:07,640 --> 01:18:11,040
It was a lot of fun
and the first time I directed.
1020
01:18:12,000 --> 01:18:14,400
So many commercial studios have closed.
1021
01:18:15,080 --> 01:18:19,720
But Abbey Road hasn't just survived,
it continues to evolve.
1022
01:18:24,800 --> 01:18:28,280
Studio One was built
for orchestral performances.
1023
01:18:29,400 --> 01:18:34,280
The first live recording was Edward Elgar
and the London Symphony Orchestra.
1024
01:18:35,640 --> 01:18:41,520
And 70 years later, Kanye West
and John Legend brought it full circle.
1025
01:18:43,520 --> 01:18:44,680
You just want this?
1026
01:18:44,760 --> 01:18:48,880
I was-- I was definitely aware of the--
the history of Abbey Road.
1027
01:18:49,800 --> 01:18:53,360
And that's one of the reasons
why it felt so important.
1028
01:18:53,440 --> 01:18:56,240
Yeah, and we put
so much time and effort in just…
1029
01:18:56,320 --> 01:19:00,480
We came out way in advance and--
and practiced so hard
1030
01:19:00,560 --> 01:19:02,960
'cause we wanted
to live up to the tradition.
1031
01:19:03,040 --> 01:19:07,040
We wanted to live up to the--
the mystique of this legendary studio.
1032
01:19:35,040 --> 01:19:37,280
Performing at Abbey Road was just--
1033
01:19:37,360 --> 01:19:38,600
It's one of those type of things
1034
01:19:38,680 --> 01:19:42,040
when you're dreaming of being
a musician or a rapper,
1035
01:19:42,120 --> 01:19:44,000
you don't even fathom that.
1036
01:19:44,080 --> 01:19:47,720
And when it's brought up, it's like,
"Oh, wow! W-We can actually do that?"
1037
01:19:52,240 --> 01:19:54,200
And we did a lot of orchestrations.
1038
01:19:54,280 --> 01:19:58,760
And just-- It was a no-brainer
for us to work with the strings.
1039
01:19:58,840 --> 01:20:01,640
And I thought it would bring
this performance to another level.
1040
01:20:02,160 --> 01:20:04,160
This another class of hip-hop.
1041
01:20:11,560 --> 01:20:17,640
Yeah, Abbey Road, it felt like a kid in
a candy store or a artist in a art store.
1042
01:20:17,720 --> 01:20:20,760
You just get all these paints and say,
"I can do this! I can do that!"
1043
01:20:20,840 --> 01:20:23,640
And, you know, having John be there
with the piano,
1044
01:20:23,720 --> 01:20:25,760
the instrumentation, the orchestration.
1045
01:20:26,840 --> 01:20:30,640
All that just-- It sent my mind racing.
1046
01:20:36,440 --> 01:20:37,520
Thank you!
1047
01:21:04,040 --> 01:21:07,360
My seminal moment
was coming here for the first time.
1048
01:21:07,440 --> 01:21:11,400
Really, I think you never forget
doing something for the first time and--
1049
01:21:11,480 --> 01:21:14,200
So many people
that have passed through here
1050
01:21:14,280 --> 01:21:17,280
and made such significant pieces of music
1051
01:21:17,360 --> 01:21:21,840
that have changed the way
a people or a person look at something.
1052
01:21:22,760 --> 01:21:28,920
And with that, it kind of encourages you
to want to elevate your performance.
1053
01:21:30,200 --> 01:21:32,760
It's just something about the space.
1054
01:21:33,720 --> 01:21:36,320
And if you read into it and you take it,
1055
01:21:36,400 --> 01:21:41,120
then that's where you make something
really moving and genuinely beautiful,
1056
01:21:41,200 --> 01:21:42,280
I think.
1057
01:21:59,520 --> 01:22:02,880
When you enter a place
with so much history around it,
1058
01:22:02,960 --> 01:22:04,920
it's kind of sacred in a way.
1059
01:22:05,000 --> 01:22:06,480
All that's gone before you.
1060
01:22:07,240 --> 01:22:10,600
You know, people want to come here.
They want to record.
1061
01:22:10,680 --> 01:22:12,440
They want the sound of Abbey Road.
1062
01:22:19,160 --> 01:22:22,360
You only get these--
these fleeting moments as they go by.
1063
01:22:22,440 --> 01:22:26,240
And if you make connections with people
that are meaningful,
1064
01:22:26,320 --> 01:22:30,800
and filled with emotion and love
and all of that.
1065
01:22:30,880 --> 01:22:35,880
And some of that happened in Abbey Road.
It was very special.
1066
01:22:40,440 --> 01:22:43,800
I always feel that I
was born in that corner of Studio Two
1067
01:22:43,880 --> 01:22:50,480
and that Abbey Road brought me to life
and taught me how to do it.
1068
01:22:52,720 --> 01:22:55,720
It started here, and it might
one day end here. I don't know.
1069
01:22:55,800 --> 01:22:58,520
But it's-- it's that big for me.
1070
01:23:06,520 --> 01:23:10,360
Studios are great
gathering places of like-minded people.
1071
01:23:10,440 --> 01:23:12,320
The same as record shops,
and the same as pubs,
1072
01:23:12,400 --> 01:23:14,240
and the same as football stadiums.
1073
01:23:14,320 --> 01:23:15,560
And it's where…
1074
01:23:16,720 --> 01:23:20,440
hanging out with other musicians
and making music with other musicians.
1075
01:23:21,240 --> 01:23:25,280
It's a-- It's a very spiritual thing.
It can't be overstated.
1076
01:23:30,560 --> 01:23:33,640
You know, with Abbey Road,
you can't ignore the legacy.
1077
01:23:33,720 --> 01:23:38,280
And I think it's a bit like, um,
you're never meant to clean out a teapot.
1078
01:23:38,360 --> 01:23:40,920
You know you're meant
to leave the residue of the tea
1079
01:23:41,000 --> 01:23:42,880
because then the tea infuses.
1080
01:23:42,960 --> 01:23:44,640
And I think studios are a bit like that.
1081
01:23:46,200 --> 01:23:48,440
You walk down into Studio Two,
1082
01:23:49,360 --> 01:23:53,000
and you feel as though
the walls are saturated with great music.
1083
01:23:56,200 --> 01:23:58,440
The songs that we recorded here,
1084
01:23:59,360 --> 01:24:03,000
um, are incredible memories.
1085
01:24:03,720 --> 01:24:07,000
The people that we worked with
are fantastic.
1086
01:24:08,960 --> 01:24:11,960
So I've got great, great memories.
1087
01:24:15,480 --> 01:24:18,040
You know, if these walls could sing.
1088
01:24:30,120 --> 01:24:32,360
I have someone for you.
1089
01:24:32,440 --> 01:24:34,120
-Hello?
-Hello!
1090
01:24:34,200 --> 01:24:36,480
Ah! Hi, guys.
1091
01:24:36,560 --> 01:24:37,640
-How's it going?
-Hello.
1092
01:24:37,720 --> 01:24:39,720
-Good. We're done!
-Good! We're done.
1093
01:24:39,800 --> 01:24:41,360
-Oh, you're done?
-Yeah. There you go.
1094
01:24:41,440 --> 01:24:43,360
-Listen, I love you. Take care.
1095
01:24:43,440 --> 01:24:45,000
-Yeah, I love you.
-All right. Bye.
1096
01:24:45,080 --> 01:24:46,480
-See you later.
-Bye.
1097
01:24:46,560 --> 01:24:48,440
Were you a fan of any of the music?
1098
01:24:48,520 --> 01:24:50,560
-Hello.
-Ask him that question again.
1099
01:24:53,440 --> 01:24:56,160
-Oh, fantastic.
-I was about to say why are you…
1100
01:24:56,240 --> 01:24:57,720
I love it.
1101
01:25:00,200 --> 01:25:01,840
All these really cool people.
1102
01:25:01,920 --> 01:25:02,960
Where's my picture?
1103
01:25:06,640 --> 01:25:08,200
Can't believe
he nearly ran him over!
1104
01:25:10,400 --> 01:25:12,840
Power's gone off.
I can't work with this environment.
1105
01:25:12,920 --> 01:25:15,560
-Press 15 amps. Press play.
-Oh, it's already-- Sorry.
1106
01:25:22,280 --> 01:25:23,280
That's your lot.