The Beatles: Get Back 1x1

1. I was immediately struck by their music, their beat

2. and their sense of humor, actually, onstage.

3. And it was there that, really, it all started.

4. The Beatles— George Harrison, Ringo Starr,

5. John Lennon, Paul McCartney.

6. George, you think all this success is just a one-night stand?

7. I mean, it can't go on the way it has been going.

8. This is no ordinary departure from London Airport.

9. The Beatles are on their way to America.

10. Paul McCartney may have been wondering how the songs he and John write

11. will go over in the States.

12. This rock and roll group has taken over

13. as the kingpins of musical appreciation.

14. - Do you hope to get a haircut at all— - No!

15. - No, thanks. - I had one yesterday.

16. Ladies and gentlemen, The Beatles!

17. The Beatles, who originated as a small-time act out of Liverpool,

18. now have no rivals as the kingpins of the teenage set.

19. - Did you enjoy it? - Yeah, it was marvelous.

20. I just loved all of it.

21. The Beatles are the top pop music phenomenon of the century.

22. Did you have a chance to get away from anybody at anytime on the trip?

23. - Yeah. - He got away from me twice.

24. And here with The Beatles was Brian Epstein, their famous manager.

25. Hey, pardon me for asking, but who's that little old man?

26. Oh, that's my grandfather. He's very clean.

27. Has any of you any ambitions left at all?

28. Yeah. I want to be an astronaut.

29. Says Paul, "We've had so much success,

30. we don't care if it fades tomorrow.

31. We've reached the point where we don't have worries anymore."

32. With Manila, some of the fans have broken off diplomatic relations.

33. John, what exactly happened at Manila Airport?

34. You're treated like an ordinary passenger. Ordinary passenger!

35. An ordinary passenger, he doesn't get kicked, does he?

36. - Would you go to Manila again, George? - No. I didn't even want to go that time.

37. Do you consider that this religious issue is answered once and for all?

38. The quote which John Lennon made has been represented entirely out of context.

39. But I'm not saying that we're better or greater

40. or comparing us with Jesus Christ as a person.

41. You tell me what you think I meant, and I'll tell you whether I agree.

42. What difference has all this row made to this tour, do you think?

43. It's made it more hectic.

44. Well, I've clarified it about 800 times, you know.

45. People said to us last time we came all our answers were a bit flippant.

46. They said, "Why isn't it this time?"

47. And the thing is, the questions are a bit more serious this time.

48. The Ku Klux Klan is going to stop this performance.

49. Apart from that, it's great.

50. Having a swinging tour.

51. Everything's all right.

52. Yes, Mr. Bloodvessel.

53. Far from the noise and pace of city life

54. in the cool, clear air of Rishikesh, North India,

55. the world-famous quartet stroll quietly in the lovely meditation retreat

56. of Maharishi Mahesh Yogi.

57. Flower-loving Yogi told reporters that his brand of peace of mind

58. could only be truly appreciated by intelligent men of the world.

59. - We don't get on at all. - There are so many father figures.

60. Oh, I see.

61. What is Apple, John?

62. It's a company we're setting up which involves records,

63. films, electronics, which make records and films work,

64. - and, what's it called? Manufacturing? - Yeah, it does a few things, you know?

65. Two, take one. Silent turn over.

66. Running.

67. - Where's the what? - The mixer and the 8-tracks and all them.

68. - Hi, Ringo. - Hi, George.

69. - Happy New Year. - Happy New Year.

70. I don't think this is a very acoustically good place.

71. Who's that little old man?

72. Oh, is he one of the Hare Krishnas or something?

73. 'Cause they won't be rehearsing shots for three weeks.

74. As I was saying to Mal, keep all the audience out, you know…

75. If you can think of a—

76. One of those Binson Echorec things.

77. Have a little one of them.

78. Oh, are you recording our conversation?

79. We should have a bass—

80. a bass and guitar all in one.

81. - Yeah. - Be great, wouldn't it?

82. Well, two people should have bass and guitar.

83. Maybe we should learn a few songs first.

84. Great.

85. One, two, three.

86. Then it goes to E.

87. G.

88. E.

89. Stop.

90. I just gotta see which should come where.

91. Everybody had a hard on.

92. Except for me and my monkey.

93. Which this isn't.

94. Um, um, we—

95. - December 25th. - Yeah.

96. Yeah.

97. When you're ready. That's right.

98. We could do— Yeah.

99. All of us just…

100. John is just finishing it up.

101. I'll take you up in the Art Department when you get a moment.

102. You can see some of the designs and all that, 'cause it's well under way.

103. Is it still the 17th?

104. No, 24th now, because of this.

105. Why? This is only going to take two weeks.

106. Well, we don't know yet, do we?

107. That's all the bits you've got?

108. All right. If you had, "Don't let me down,"

109. say twice at the beginning…

110. But you know when you bring that, "'Cause I'm in love for the first time"?

111. - I don't dig that. Sounds like a middle 8. - Oh, yeah. Okay.

112. It doesn't sound like— But I— Some of it.

113. Scrap that, except use that somewhere near the end.

114. That one used to go after the…

115. - Yeah, 'cause that's where— - "Nobody ever loved me like she do me."

116. No harm just having a break in that bit.

117. Yeah, except just skip that little…

118. - Yes. - …interlude.

119. - Put the interlude right somewhere. - In the beginning.

120. I'll do one set of "don't let me down."

121. Uh— "Like she do me. Ooh, she do me. Yes, she do me."

122. I didn't quite get around to making sense, you see?

123. So we'll see what happens.

124. Do you want some sandwiches?

125. We don't eat these. Paul, do you want some sandwiches?

126. - Hang on. - Ray.

127. - Do you want a dry bun? - A dry bun? Yeah.

128. It's like a rock cake but needs butter or something.

129. The thing I don't want is, like, a TV show sound.

130. They always seem to have that sort of farty, little sound on TV shows.

131. Well, don't forget, you're hearing it on a TV speaker,

132. which is a grotty speaker.

133. But see, this place sounds terrible now. It may just be great.

134. You can never tell with these places though.

135. We did "Yer Blues" in a little room like a bog.

136. - Yeah. - And…

137. No separation in there, you know?

138. - We really got good separation. - Yeah.

139. The thing is, that an open-air sound is fantastic.

140. I've always wanted to do something in the open air.

141. It'd be nice to try and find some way to do it out of doors.

142. It's so bloody cold.

143. It's your English rain which is worrying about outdoors in this country.

144. - Yeah, right. - Snow or rain will do me.

145. You know, wind and anything. Make all that…

146. - It's just a frozen hand trying to… - Yes, you could.

147. …play those notes.

148. Trying to get your E-seventh when your little finger's frozen…

149. The snow and rain.

150. It's all right. You might just have a few deaths on the set

151. due to electric shocks.

152. I was very taken by the place Denis talked about.

153. Yeah. That was…

154. Because I could see it outside torch-lit.

155. 2,000 Arabs and friends around.

156. No, I think we won't be.

157. I think you'll find we're not going abroad.

158. Hmm.

159. 'Cause Ringo just said he doesn't wanna go abroad.

160. No, and he put his foot down.

161. - So… - Yeah?

162. Us and Jimmie Nicol might go abroad.

163. I think the thing to do is just be very flexible still

164. about every aspect of the enterprise.

165. I think— Well, I think, you know— Michael, I think you're pretty right.

166. He won't give up.

167. - Pretty fair comment. - You're pretty right, Mike.

168. Are you gonna keep the beard?

169. I don't know.

170. You ought to get one of those big-brimmed hats

171. with those ringlets down the ears.

172. Yes. Yes, I saw that on telly the other night.

173. That'd be good. Then we could do it in Israel.

174. Middle eight, B flat.

175. I'll do a verse. Just…

176. No, I think it goes…

177. Three, four…

178. It's like…

179. Two, three.

180. Two, three.

181. - Two. - After three.

182. It goes into waltz. It goes into three.

183. Yeah.

184. Repeat now.

185. Then short.

186. And that's like a break. Ch-cha.

187. I'll go from the beginning.

188. It's not— It's not—

189. That was 23, take one. End announcement.

190. Nice, that purple.

191. "What do you think of George's pseudo tie sweatshirt?"

192. I think it's terrible.

193. "The True Story of The Beatles. You can still get it direct."

194. "Accompanied by his current steady, American photographer Linda Eastman,

195. Paul spent a December week in Portugal

196. visiting The Beatles' biographer, Hunter Davis."

197. It's just so sort of daft.

198. "…send a big 'Hi' to all the Bertle Persons."

199. "It's fab in here!"

200. I think your beard suits you, man.

201. - Mmm.

202. I've been thinking of all the tunes I've got.

203. And they're all, uh, they're all slowish.

204. - I seem to be— - Yeah, most of mine are.

205. See, so far, there's a couple I know I could do live with no backing.

206. - Just with the guitar and singing. - Well, you know…

207. - I've got "Taking a Trip to Carolina."

208. In the same…

209. In his mind.

210. Oh, no.

211. I had— It's on there.

212. I've got it on the little tape, singing "I've been to LA and New York too."

213. So, they're not very nice.

214. You know, the words, I mean, they're not very good.

215. - Uh-huh. - "Carolina," it's, "Oh, baby."

216. Just get me back there.

217. But it's good.

218. But they'll have all this sort of…

219. Yeah. If you wanted to get 8-track stuff to record all this,

220. where would we get it? 'Cause, apparently, it hasn't been—

221. We'll lend it to ourselves, but EMI should do it.

222. You know, it's like if Benjamin Britten wants to do an album…

223. - Right. - …in Paris,

224. EMI have got to fucking get all that shit over to him.

225. And they do, of course.

226. We subsidize EMI, then get it out there.

227. - Get an 8-track mixer— - 'Cause they just told Glyn and Mal—

228. They just told them that they've only got 4-track.

229. But I know for a fact that they got 8-track out for The Beach Boys.

230. But The Beach Boys are American.

231. 'Cause I really never thought of that.

232. It's just we all used to sag off every school day.

233. You know, and go back to my house,

234. and the two of us would just sit there and write.

235. There's a lot from then, you know?

236. There's about 100 songs from then that we never reckoned,

237. 'cause they were all very unsophisticated songs.

238. "They said our love was just fun,

239. the day that our friendship begun."

240. Don't think that ever got there, did it?

241. - That sounded like…

242. Okay. All right.

243. Really, that's out of the past, that.

244. I always meant to just change the words a bit and do something.

245. But no, it's so great.

246. - It's all working. Keep them.

247. "Said, 'Move over, honey, I'm traveling on that line.'"

248. "Move over once, move over twice. Come on, baby. Don't be cold as ice."

249. "You're only fooling around."

250. "You're only fooling around with me."

251. I never sort of knew what it was about before.

252. - I mean, so she's on a train. - Yes.

253. - And he sort of— - Goes to the station and misses it.

254. But he goes back and finds it was the wrong number, so…

255. "Wrong location."

256. To rhyme with "station," you know?

257. That's great.

258. "Railman said you got the wrong location."

259. - Hello, George.

260. Hi, Paul. It's simply great for you to turn up this evening.

261. - The Animals reunited.

262. - Ah! Fucking hell.

263. - I just got shocked. - Just got a belt, man.

264. I really— I got an electric shock.

265. Gonna be in trouble over this.

266. If this boy dies, you're gonna cop it.

267. Hold that one as well at the same time and see what happens.

268. Let me see it again.

269. Let's try it.

270. - You get feedback. - It's the feedback, yeah.

271. The feedback going into the, uh—

272. - There, it's not—

273. - That's it. - Put your hand on that bit.

274. It might be the playing the guitar as well.

275. It should be where you're here rather than all this…

276. - You know, all this thing. - Yeah.

277. When was it when you touched it?

278. I gripped hold of two of them together.

279. - The feedback going into the… - Just grip it tight.

280. - Put the palm of your hand on that bit.

281. The bit that I find the weakest now is…

282. Yeah, that's just power, you know?

283. - Maybe harmonies. - Just sing your one.

284. You're singing B.

285. Yeah, just sing the next harmony down so it's not too low for you.

286. - That's very high for me. - Don't shout. It's power.

287. Oh, it's terribly high.

288. Down on the one note, is it?

289. - That's very high, you know?

290. Fuck it!

291. One, two, three, four.

292. - It's a bit early for that, isn't it? - Yeah.

293. Early in the morning, you know? I'm not 18 anymore.

294. Uh— Hair down.

295. Socks up. Foot down.

296. - "Everybody pulled their socks up"? - Yeah. Yeah.

297. - "Foot down." Okay, that's it. - Right.

298. Yeah.

299. Bit of power there.

300. I don't want every time we're doing "Don't Let Me Down,"

301. that it hurts just to rehearse it.

302. I wonder how long it is. Do you want to time it, Mal?

303. 'Cause it's probably only about half a minute long.

304. One, two, three…

305. - Three minutes! - What?

306. - Three minutes, 40 seconds. - That's fine.

307. - Three minutes, 40 seconds. - Yeah.

308. This is incredible.

309. - It's long. It sounded just like… - Half a minute.

310. Okay.

311. Uh, I've got one.

312. - Uh, "Gimme Some Truth" or something. - Something like that.

313. - "Gimme Some Truth." - We could finish that.

314. - Remember your hangman bit? - Yeah.

315. - It was all right. - No.

316. "No, no freaked-out… yellow-bellied son of Gary Cooper gonna…"

317. - It started in D, didn't it? - Yeah.

318. That was— That was my bit.

319. - Yours was in E, wasn't it? - No, it was in D.

320. If we add a—

321. We should change the—

322. No, it was in D and E.

323. - Oh, okay. - Yeah. Right.

324. Perhaps if you stuck it over that side—

325. How's that for your show?

326. Okay, yeah.

327. It's really getting into a show.

328. Bottoms up.

329. If you'll all turn now to "Sunrise,"

330. I would very much appreciate it.

331. "All Things Must Pass."

332. There's no solo or anything complicated.

333. It's purely just rhythmical and vocal.

334. And if we suddenly add a Lowrey organ…

335. Also, the chords really are E.

336. To F-sharp minor, to E, to A.

337. E to F-sharp minor.

338. E, A.

339. But the middle bit, because it says the same word first…

340. Like "All things must pass away," then…

341. Something there, you know, is where we'd overdub something

342. or add voices, or I'd track it, or—

343. Maybe it would be better if we just did it straight, first of all.

344. Okay.

345. Just to do everything just really mechanical

346. and then we can sort of get it all good after that.

347. Yeah, okay.

348. It looks like it on the paper.

349. "A miner can blow these clouds away."

350. - Mal's writing. - What are they all having? Pale ale.

351. - Pale ale. Anyone else want a drink? - Yeah. Anybody else want a drink?

352. - Yes, please. - Yes.

353. - I'll have a glass of white wine. - I'll have a beer.

354. You know, man, the idea of doing this thing

355. so that it's just us doing it

356. and there's no overdubs or you can't get out of it

357. is much better really.

358. Because, you know, all the time recording,

359. you're thinking, "It's all right. We can do that later."

360. Hmm.

361. People are doing live shows now,

362. they do their overdubs 'cause they're phased and echoed live.

363. But we're still thinking of it in terms of the four guys and four amps in The Cavern.

364. Yeah.

365. Yeah, I'd like phasing.

366. But the phasing is Alex, and he's building the studio

367. and putting it in this week.

368. Yeah.

369. Not bad though. Good try that, Johnny.

370. Yeah, but you know, John,

371. the difference between me and, say, Eric,

372. I'm just another guitar,

373. sometimes playing bits and sometimes singing.

374. But he's the only guitar to play lead.

375. And so he's, like, playing.

376. That's how he can keep it going all the time.

377. - Yeah. - So…

378. I feel now I can play things.

379. I can learn things that will sound okay,

380. especially fast fingering like that.

381. It's jazz, man.

382. You know, like, a lot of guitarists can sustain even,

383. but they play it like a lot of shit.

384. But his thing takes on a pattern

385. and gets somewhere and resolves itself,

386. which is very hard.

387. Yeah, I'm sure you'll dig it when you see.

388. And what shall we do, then?

389. No. Lay off the booze, boy.

390. Uh, John?

391. How near are we to getting the stuff in?

392. Should be in today with any luck. I've got bits and pieces coming from IBC.

393. And George's 8-track coming and EMI's gear should be here either today or tomorrow.

394. I haven't thought of it like a record yet.

395. I think the idea of the record should be a live performance.

396. The fact it's being recorded is something—

397. It's like when I heard Sgt. Pepper last night.

398. I thought, "Oh, that— So that's what live performances could be like."

399. You know, even though that was a lash-up that wasn't a live performance there.

400. Good morning.

401. Hi.

402. I won't lie. I'm not too good.

403. - Morning. - How are you?

404. Good morning.

405. We ought to think this week sometime about the show.

406. - We are thinking about the show. - We never stop thinking about it.

407. - Good morning, George. - Morning, all.

408. - It's just a funny day again. - Again?

409. Wouldn't it be nice if we did this show with a big audience?

410. Yes.

411. I think we should forget the whole idea of this show.

412. Yeah, just, that's it. Okay.

413. I'll go along with that.

414. - We're back— - We're back to square one.

415. Here comes my recording studio.

416. Who's gonna look after all this equipment?

417. 'Cause the only thing is, it is, like, 10,000 quid.

418. And is Alex going to plug all that up?

419. Supposedly.

420. Now, Alex rang me yesterday, George,

421. and said that he didn't think that you needed an 8-track console.

422. Alex said he can build one.

423. - Now, the thing is that it might go wrong. - Yes.

424. Where did you get Alexis from?

425. He worked for Pye Color Television…

426. No, he was in England and John Dunbar asked him

427. if he'd stay and build a light machine for The Stones' tour.

428. Yeah.

429. So he stayed and did that.

430. Then he met John, and then he met us.

431. - Hmm. - And he's been there ever since.

432. Hmm. Hmm.

433. Yeah, I'm not going to tell you the story about Alex and his foot pedal am I?

434. Have you actually tried it out or—

435. You see, the thing is he just comes across things

436. and then he says, "Oh, yeah, I've done this."

437. But he hasn't actually made it

438. because he's busy building recording studios.

439. I don't think we should have Alex build one

440. because it's better to have something that we know we can use and is reliable.

441. Something like— The words, like,

442. "Love for the first time in my life, so don't you let it get away."

443. Uh…

444. - What are the words? - "It lasts forever and a day."

445. Uh, no. "Love for the first time in my life." Here you go.

446. It's nice though. I mean, it's—

447. What can we do to that bit then, you know?

448. Yeah, it's really like that's where the piano would come in.

449. See, would you have piano on it?

450. Yeah, I like the idea of piano. But how do we do that?

451. One of us play bass. George play the bass.

452. But then there's no guitars.

453. Well, it's either you or him.

454. Or a bass player or a pianist. You know?

455. - If we need somebody else… - Yes.

456. …probably be like a guy that plays piano all the time.

457. - Somebody like Nicky Hopkins. - Or anybody. Yeah.

458. Or if it develops that nothing need be done on guitar except for rhythm,

459. then we say, "Well, fuck that. Two rhythms. We'll have one piano."

460. Okay, well, we'll play the rhythms with the guitars anyway.

461. I was thinking about this whole three mics bit.

462. Do you think we should?

463. I was watching that pop show on BBC2. The Move were on.

464. You know that one little voice there doing harmony, one little voice there.

465. They never joined into a group.

466. It should be, like, a sustained thing over that.

467. So, George, so that we can split up,

468. so that you're, like, doing the chords, like a "Ave Maria" thing.

469. Yeah.

470. - Tell me—

471. Like on the tom-toms—

472. You know what I mean?

473. Yeah, so it goes—

474. There's a point where we'll have to concentrate on the guitar

475. for each song, you know, where, if it's going to play anything.

476. But if it's "I'm in love for the first time."

477. And I'm doing, uh…

478. It's nice though. I mean, corny's all right in this one.

479. 'Cause what he's doing is corny.

480. But it— See, that's the thing that will make it not corny,

481. if we sing different words. So, you say…

482. Wait, okay. But roughly…

483. Okay, well, we'll do that. That comes later. So…

484. - Just start off with a corny one. - Yeah.

485. 'Cause the words aren't that good. So it goes…

486. I think the words should be corny 'cause there's no clever words in it.

487. - You see, we should— - Yeah, change the beat.

488. Should be different beat and all on to light things and cymbals.

489. Yeah.

490. Arthur Alexander then?

491. Okay, do it from the beginning.

492. It sounds like the same old shit.

493. Well, I like the same old shit if it's just clear, you know?

494. Okay, so how about— how about changing around these two?

495. And when you sing, "Don't you know it's gonna last,"

496. we sing, "It's a love that has no past."

497. Then he sings it, and then we repeat, "It's a love that lasts forever," exactly.

498. When you sing, "It's a love that has no past,"

499. we sing, "It's a love that's gonna last."

500. - Yes. I agree. - Okay, so…

501. "Love for the first time in my life."

502. "It's a love that has no past."

503. Swap that one for the other,

504. so that when he's singing that, we're singing the other.

505. Then, "It's a love that lasts forever."

506. Repeat that, even though it sounds funny. It'll be all right.

507. And then, "Don't you know it's gonna last."

508. Just try it through roughly.

509. Yeah, well, that time it was just silly.

510. What's the bones of the part?

511. We don't really know what we're saying now.

512. - It was always weak on your guitar… - Yeah, sure.

513. …'cause that's a weak bit of the song, that.

514. - But you see, nothing has to happen… - Yeah, it's the same bit.

515. …in those things.

516. - If you listen to the words and things… - Yeah, right, nothing does.

517. …all that's going on is the bass, guitar and drums doing…

518. It doesn't really make that much odds— No, but—

519. - Yeah. All right? - Yeah.

520. That's the only time that works, really, is on the last line.

521. - Paul, forget the last line. - I'm just trying to get a bit—

522. We'll try to sort of go right through. We keep talking about it.

523. - It seems we're saying… - Okay, girls.

524. - Give in. I give in. - You're right that it's wrong on that bit.

525. You see, the first song is not bad.

526. Okay. Okay, we'll just repeat exactly what you say.

527. One, two, three.

528. Okay. Okay, that's— that's all right. That's—

529. - Yes, I can't hear you. - Right.

530. No.

531. I think it's awful, actually.

532. We're gonna improve on that—

533. If we had a tape recorder now and then just taped that and played it back,

534. - you'd throw that out straightaway. - Yeah, right, but—

535. - Yeah. - No, really.

536. - You'd throw it out, right? I mean… - Yeah, sure. Okay.

537. Well, for a start it would be better to sing…

538. - Instead of…

539. Yeah, see, but in a way, that's even cornier, I think.

540. That little harmony bit. It's just too pretty.

541. - Just anything would be— - Yeah, well, that's— It's the—

542. I think you should just get a corny one first

543. and then start doing roundups.

544. You know, you'll start getting the rhythm to it, something, or change it.

545. You know, we've just gone round, like, for an hour with nothing in our heads.

546. - Just… And we're back, so let's— - We've been through a lot of permutations.

547. Yeah, I know, but let's move— sort of move on now.

548. Today's the sixth.

549. - What is it? - Yeah.

550. We haven't done many yet.

551. Yeah.

552. Okay, now…

553. - Am I singing on this or what? - I don't know, really.

554. "Two Of Us"? You have to remember the words too.

555. Yes, I've got 'em here.

556. But learn 'em.

557. I almost know 'em.

558. See, look.

559. Listen, now.

560. See, we're gonna have to sort of bring it together, 'cause we're all at odds.

561. We're doing that thing we did on The Beatles.

562. Like, in this verse, it's two harmonies singing, trying to say some words, right?

563. It's not sounding together.

564. Or we can stop and say it's not together.

565. When you just get them?

566. No, not really, it's just— We've got to be imaginative.

567. You know, like— It's like— It's complicated now, so it…

568. See, if we can get it simpler and then complicate it

569. where it needs complications, but it's complicated in the bit—

570. But you know what I mean?

571. Well, you know, we do this then. Then we— And then, I don't know.

572. Yeah.

573. I can't do it on film either.

574. Can't frickin' do it on camera.

575. Yeah.

576. Forget about Candid Camera.

577. And I have been for, like, a couple of years.

578. It's like I always sound—

579. I always feel as though I'm trying to put you down and stop you playing.

580. But I'm not. I'm trying to stop us all playing

581. until we know what we're playing.

582. But you've got to play in order to find which fits and which doesn't.

583. - Mmm. - You see that's all we can do.

584. I don't wanna say it, 'cause I really just hear myself

585. as being the only one saying it, always.

586. And like, the three of you just sort of sit there, like…

587. "Oh, he's saying that one again is he?"

588. And I never get any support, or anything.

589. So I just think, "Oh, well. Fuck it."

590. And I know it's right, and you know it's right.

591. Yes, all right. I just don't know what to do about it.

592. But doesn't everyone agree that it's confused at the moment.

593. So, all I'm trying to say is, we've only got 12 more days,

594. so, like, you know, we've really got to do this methodically, this one.

595. Well, it's annoying, you know?

596. It's like a matter of working it out with you

597. while you're working your bit out.

598. You know, have you got your bass bit?

599. Look. You know, you—

600. You're doing it again as though I'm trying to say that.

601. And what we said the other day, you know I'm not trying to get you.

602. What I really am trying to just say, "Look lads, the band,

603. shall we try it like this, you know?"

604. It's funny though how it only occurs when the—

605. It's like, "Shall we play guitar all through 'Hey Jude'?"

606. - Well, I don't think we should. - Yeah. Okay, well, I don't mind.

607. I'll— I'll play, you know, whatever you want me to play.

608. Or I won't play at all if you don't want me to play.

609. Now, whatever it is that will please you, I'll do it.

610. - But do you wanna take the gallop? - No, okay, but don't—

611. Now come on. Look—

612. We've gotta do this. We've really gotta sort out this,

613. 'cause we're rehearsing, and we're trying to, like, get it together for the TV show.

614. So we really— Like you said, we've only been through four numbers.

615. So we probably gotta get some system to get through, like, 20 or 30,

616. and know them all and have learnt them.

617. So that we get all the chords.

618. - So we can all vamp them all. - Yeah.

619. Then we can, like, all play every solo we need.

620. But, like, it's gotta sound as though it's improving.

621. Yeah, I know what you mean.

622. It's just that that way of doing it puts me off the way I'm trying to do it.

623. Yeah.

624. Let's do another song.

625. This is why we take so long.

626. I think we play it shitty ten times, and so it's sort of in there.

627. And then I think we could come and play it quite good then.

628. I'll have to tune my guitar.

629. It's got to just drive along like a car. So how do we do that?

630. It was turning heavier. Do you want it more countryish or more…

631. I can't talk anymore, I really can't.

632. Two, three, four, five, six, seven, eight.

633. - But it comes— - Then just end on D.

634. - It could end on G for that one. - G.

635. - It's like Lyme Street Station. - What?

636. It reminds me a bit of Lyme Street Station.

637. Between 10:00 and 11:00 is the time.

638. Thinking of getting rid of him.

639. I'm never late.

640. He's never late. He's a bloody pro, is Ringo.

641. You're playing that bass again.

642. Peter, can we have a Binson echo unit for these microphones, please?

643. I think we could have better mics.

644. We could have better mics too, Peter.

645. - You know, those big Neumanns. - Yeah.

646. - Yes. - We might, Michael. That's quite true.

647. Yeah. It's good— It's, you know— Musically and that, it's great.

648. I mean, at the moment, we're just rehearsing the numbers for the show.

649. None of us has had the idea of what the show is gonna be yet.

650. Yeah. Right. Yeah.

651. And that's why, uh…

652. I think if you all have decided to do a show,

653. then it should be the best show.

654. Know what I mean?

655. The only thing about that though, is that, uh,

656. we don't want to go away.

657. Think of the lights in the water.

658. Torch-lit. 2,000 Arabs.

659. - I mean, visually, it is fantastic. - But we're not going away.

660. My trouble is…

661. We could make it like requests.

662. We should do the show in a place we're not allowed to do it.

663. You know, like, we should trespass, go in, set up,

664. and then get moved, and that should be the show.

665. I mean, you know, if you put us in the Houses of Parliament,

666. playing in the main gallery at the Houses of Parliament,

667. and getting forcibly ejected,

668. still trying to play numbers, and the police lifting you…

669. I think that's too much of an obstacle.

670. Scuffling with the coppers, boots and truncheons and all that.

671. You have to take a bit of violence.

672. I think that's too dangerous.

673. But I don't mean for really sick kids.

674. I mean for kids with broken legs.

675. I mean, really, kind of, 1944 Hollywood musical Bing Crosby kids.

676. Or in a hospital, they can't all get up and walk.

677. Except for the finale.

678. Oh, yes!

679. When John walks up to the little girl and says, "Come here."

680. And she gets up and walks.

681. Or maybe an orphans' home? An orphans' home.

682. Children are the hope of the future department.

683. What about an orphanage?

684. How does that grab you guys?

685. It's like, "Going once, going twice, going three times and that's it."

686. No.

687. Orphanage— Orphanage going downhill.

688. What's the biggest charity in the world?

689. I don't mean in terms of polio,

690. but what's the most charitable thing anybody could do?

691. They say—

692. Don't they say, "Charity begins at home"?

693. - We'll do it at George's house.

694. We gotta have some serious reason for doing this or else we won't.

695. What's it for?

696. Can't be for the money.

697. I've decided the whole point of it is communication.

698. And to be on TV is communication.

699. We've got a chance to smile at people, like "All You Need Is Love."

700. But— So that's me incentive for doing it.

701. The worst that we have is a documentary of us making an LP

702. if we don't get into a show.

703. But we haven't played together, you see.

704. That's the fucking thing.

705. But when we do come together to play,

706. we all just sort of talk about the fucking past!

707. We're like old age pensioners.

708. "Remember the days when we used to rock?"

709. You know, but we're here now, and we can do it, you know?

710. But, I mean, all I want to see is enthusiasm!

711. See, the thing is also I get to a bit where I just sort of push all my ideas.

712. You know, I mean, a lot will come out of it if we could get the enthusiasm.

713. I mean, why are you here? I'm here 'cause I wanna do a show.

714. But I really don't feel an awful lot of support.

715. We keep coming up against that one, and I keep saying,

716. "Yeah well, I'd like to do this, this and that."

717. And we end up doing something again that nobody really wants to do.

718. If this one turns into that,

719. it should definitely be the last for all of us.

720. Because there just isn't any point.

721. I think that'd be sad. I mean, as an audience. That'd be sad.

722. Course it is! It's stupid. It is just stupid.

723. You see, the people who are being stupid are the four of us.

724. …which it always is.

725. The Beatles have been in doldrums for at least a year.

726. Ever since Mr. Epstein passed away, it's never been the same.

727. I mean, we've been very negative since Mr. Epstein passed away.

728. And that's why all of us, in turn, have been sick of the group.

729. It's discipline we lack.

730. We've never had discipline.

731. We had a sort of slight, symbolic discipline.

732. Like Mr. Epstein.

733. You know, and he sort of said, "Get suits on," and we did.

734. You know, and so we were always fighting that discipline a bit.

735. There really is no one there now to say, "Do it."

736. Whereas there always used to be.

737. Daddy's gone away now, and we're on our own at the holiday camp.

738. I think we either go home or we do it.

739. I think we've got a bit shy, you know?

740. I think I've got a bit shy of certain things, you know?

741. 'Cause you know how often, like, on albums we sometimes blow one of your songs,

742. 'cause we come in in the wrong mood.

743. And you say, "This is how it goes. I'll be back."

744. And we're all just, "Oh, well you…"

745. That's why we're wrong to throw away the show.

746. Because there's no desire.

747. So it's like, if we're doing the show,

748. we're gonna have to work hard.

749. And that means by the time a week from now comes

750. all these songs we've got, we've gotta know perfectly.

751. Because they just turn out shitty—

752. No, but this— Thinking it's not gonna come out great won't help.

753. If we cancel the show now, we'll be throwing it away.

754. But equally, at the moment we haven't got a show

755. and so none of us really want to do it.

756. I'll do it.

757. I'm not interested, you know, to spend my fucking days farting around here,

758. while everyone makes up their minds whether they want to do it or not.

759. It's like Mal said last night, "If you're gonna do the show here,

760. you've gotta decide today."

761. And as far as I can see, there's only two ways.

762. We're gonna do it, or we're not gonna do it.

763. And I want a decision!

764. Maybe we should have a divorce.

765. Well, I said that at the last meeting.

766. But it's getting nearer, you know?

767. Who'd have the children?

768. Dick James.

769. Oh, yeah.

770. We all need you.

771. And, you know, if you all can't get it together,

772. that's really very sad.

773. So, I think what we should do now is let you play a little

774. and then you all have lunch together.

775. And I can give you some more fennel, maybe?

776. - Yes.

777. So shall we leave you for a while?

778. - Yes. Yeah. - Yeah.

779. "If I'd been out…

780. till quarter to three."

781. And then twice…

782. Minor.

783. That's the second lot.

784. Like a ukulele solo.

785. Uh—

786. Who was that?

787. Was that you?

788. It's all right.

789. Keep it in.

790. Just stand near the mic on the night.

791. Okay.

792. Uh, John?

793. They're like a D, D.

794. D, F-sharp minor, G to A.

795. Are you just doing it all in D?

796. Yeah. Should we go and have lunch?

797. Take this guitar I offer you in all humility.

798. Thank you.

799. Thanks a lot, Jim.

800. Mal, we should get a hammer.

801. And an anvil.

802. See you later.

803. Whistle.

804. That's nice, fellas.

805. - Like that? - Yeah, E minor to A.

806. Same as before.

807. So there's two choruses there. Solo.

808. Then the quick end now.

809. That's okay as long— He's in the space.

810. Yeah, if you do it in the space. You know, it's gonna go…

811. - That's the… - That's the one.

812. Hee-hoo!

813. Take it away, Johnny.

814. Well done, boys.

815. Okay, that's "Maxwell's."

816. Mal, did you get the words to "Across the Universe"?

817. - They'll send them up this afternoon. - Has Dick James got the words?

818. - No! - I don't think so.

819. He's trying to get a balance in there, and you've got the words all in front.

820. - You got the balance, Glyn? - Yes.

821. Getting it all right, are you?

822. Can't you get a music stand? We had some the other day.

823. - Yeah, Mal— - There's one over there.

824. - Do you want a music stand? - Yes, please.

825. It goes…

826. I wish it fucking would.

827. It's 'cause I'm down.

828. I think you better take control, John!

829. You know where they dropped all the bombs on Germany,

830. - they killed more people than… - Than the H-bomb in Hiroshima.

831. Yeah.

832. - And all civilians. - Fucking terrible.

833. And did you see when they flew over, it looked like Hamburg. Just bombed out.

834. - Nothing. Just dead. - Mmm.

835. - Did you watch the BBC2 thing? - And, uh—

836. Yeah, there was that science fiction thing.

837. Was the science fiction any good?

838. - It was amazing. Did you see any of it? - I only saw the last five— Three minutes.

839. It started very strange, where they brought—

840. They had a fellow on a trolley, and they pushed him in,

841. - like, a cupboard or a fridge. - He was the body, wasn't he?

842. He was just, like, a body, yeah, that they were gonna use.

843. - Mmm. - And they did something.

844. They were supposed to be in the year 2100 and something.

845. - And they went back to 1969, January. - Mmm.

846. Focused in on the M1 on this car.

847. - And made him crash, so that he'd— - Mmm.

848. And then they somehow take his mind or whatever it is

849. and transplant it into this new…

850. - Uh, new body. - Into the body that he put in.

851. Rex Industries, they were called.

852. And, uh, then suddenly it turned into all that crap about medals and things.

853. That's what gave me the idea, 'cause suddenly it was the bit

854. where they were all coming into the ball, I think it was Austria,

855. and they all had their medals.

856. - Oh, I didn't watch that. - And some music was just playing.

857. - Music, like a 3/4 thing. - Mmm.

858. And so I just had that in me head, just the waltz thing,

859. and it was fitting "I Me Mine."

860. - There was no words to it, I just… - Yeah.

861. Hello.

862. How are you?

863. - Morning. - Good morning.

864. Do you want to hear a song I wrote last night?

865. It's just a very short one. It's called "I Me Mine."

866. It's lovely.

867. What's, uh—

868. Is that grammatical? "Flowing more freely than wine."

869. Yeah.

870. All right.

871. - "Flowing much freer"? - You know what would be fantastic, Paul?

872. - More freely. - "Freer." It's funny when—

873. If you're writing, yeah, thinking of how you say it.

874. - "Freer." - But I got—

875. - For it's sticky out here. - I was thinking…

876. - Yeah, yeah.

877. All the girls come on then, dancing.

878. Harrison's fisherwife, and dwarves and hunchbacks…

879. Run along, son.

880. We'll see you later. We're a rock and roll band, you know?

881. - Mine. - Mine. I like mine.

882. Well, I'll get on the barrel organ.

883. I don't— I don't care if you don't want it. I don't give a fuck.

884. It can go in me musical.

885. George, have you any idea what we play?

886. George?

887. - Can we just borrow that copy?

888. His amp needs to be on.

889. Why? Have you got something there?

890. - No. - Hello.

891. Hello?

892. - More volume. - This is diarrhea.

893. When I'm up against the wall, Paul, you'll find I'm at my best.

894. That's good echo.

895. But I wish you'd come up with the goods.

896. - Look, I think I've got Sunday off. - Hello?

897. - Well, I hope you can deliver. - Hello.

898. I'm hoping for a little rock and roller.

899. Yeah, I was hoping for the same thing myself.

900. Sammy loved his mammy. She hammy dammy dammy.

901. Paul, Paul, Paul.

902. - Stop that goddamn feedback!

903. And you then being presented onstage,

904. you should be sitting there when they are coming in.

905. And then you open the doors and we're in the middle of a number.

906. Or you're just sitting, waiting, and then when everybody's there, then you start.

907. As opposed to you coming on as The Beatles, it's much more intimate.

908. Well, we're doing it anyway, while they come in before we start it.

909. - Yeah. - Like we did on "Jude."

910. Well, let's— We keep 'em a bit more disciplined than they were then.

911. Yeah.

912. So, the main thing is, are we going to do it here?

913. 'Cause they've got to build a control room.

914. What are the alternatives to where you want to go?

915. It's really anywhere as long as we can get it there.

916. Are there definite places?

917. No, I don't know anywhere.

918. That's why we came here.

919. Where do you think?

920. I think you might as well do it right here.

921. But, acoustically, it's not very good here, is it?

922. It's not as good as it could be elsewhere, you know?

923. Now what would make it?

924. - A lower ceiling? - Deaden it right down.

925. Yeah, a false ceiling above where you are.

926. Now John'd like to say a few words on the subject.

927. Yeah?

928. Thank you very much.

929. Uh, Mal?

930. Legalize pot.

931. Queen says "no" to pot-smoking FBI members.

932. It doesn't—

933. Hey, hey. It doesn't stop there actually.

934. A guitar fell over, Paul. A guitar fell over.

935. - You can keep going now. - Do you dig it, man?

936. - I like that one. - Yeah.

937. Do you want to do that waltz on the show?

938. That'd be great, 'cause it's so simple to do.

939. Every song has got a character. That's the character of that one.

940. And we can find each number— how they fit theatrically,

941. like your dance for that one, like the song that you cry in,

942. and the song you do that brings tears to everybody's eyes.

943. Yes, all right. Just sod off!

944. I mean, you see, build any set you want.

945. Maybe not scaffolding— Not obvious scaffolding.

946. Maybe we can put people up on them.

947. Think it could hold people?

948. It could hold— I guess that'd be a bit limited.

949. - Yeah. Well…

950. See, this is Around The Beatles, and that is better, but—

951. Show it to John. John will tell you about that.

952. John and Yoko know about that. They're artists.

953. It's Around The Beatles '69.

954. Yeah, that's what Paul said.

955. That's what Paul said. He said have a word with you and see what you thought.

956. Whether we could vary it.

957. In terms of… see-through things, 'cause I don't think we're ever gonna—

958. If you wanna see through 'em, use plastic.

959. Plastic…

960. But don't have scaffolding. They do it every show.

961. - Yeah. Use a different material? - Just use solid plastic.

962. - Solid plastic. - For, you know, to see through 'em.

963. I like the idea of a see-through thing, I think.

964. If you had 'em above our heads, you could have plastic and see up—

965. That's right. That's great. That's a good thought.

966. That's a good thought, all that.

967. Think of a helicopter shot over the amphitheater—

968. Yes, but that's the only argument you're giving to me is the…

969. - Is the helicopter shot. - The helicopter shot.

970. And you'll see the sea and you'll be in a theater.

971. And that is— For one, two minutes, say, of that shot

972. isn't worth me going out there.

973. When I really prefer to do it here.

974. Just big blocks, so you could put blocks of plastic in any shape you wanted.

975. We could move the audience round.

976. Yeah. Now that would mean casting the plastic, wouldn't it?

977. - It's just boxes, you know? - Might be a material we don't know about.

978. There will be some kind of new stuff,

979. you know, like Bakelite or some plastic.

980. But the thing is, everything you do has got to be good,

981. 'cause all your albums are good.

982. I mean, there's not a duff album.

983. But see, it is kind of like four years ago.

984. And there's nothing wrong with four years ago,

985. except we're all 28 now as opposed—

986. - I don't mean that… - We're all… Yes, we are.

987. We're all 28, or whatever we are in the group. Baby George there.

988. I mean, it's not only you as the band and it's not only them as songwriters.

989. It is the four of you.

990. If you got a lot of blocks made, you could build any formation you want.

991. - Fit in like a Meccano. - If you've got box-shaped plastic,

992. you can build it that long if you want, or just have it that short.

993. Like Kubrick would do.

994. And it's got to be the best.

995. Because…

996. I mean, the hearts of millions are with you, you know what I mean?

997. It's got to be the best. It can't—

998. I'm not saying you owe it to the world or anything like that.

999. But if it is going to be your last TV show—

1000. But I don't want you to be unhappy 'cause, like…

1001. I love you like I love your three colleagues.

1002. You see, then it's nice to have the levels where they can dance

1003. and, you know, whatever they wanna do, you see?

1004. Look, you could have our thing plastic too.

1005. Yeah, that would be knockout to do that.

1006. And then we could do what we like with the backing, have it go black or…

1007. - Yeah, yeah. - Black.

1008. Or stark or something, you know?

1009. See, I'd watch an hour of him just playing the piano.

1010. Me too. Uh…

1011. 'Cause he's so great.

1012. But, like, I think—

1013. See, I think we gotta find a place which would complement it.

1014. And I don't see it being here on a stage with tubular scaffolding around it.

1015. Then we can control all our lights from a panel.

1016. And we can have what colors you like.

1017. Yes. You'll always be able to see us through everything.

1018. That's right.

1019. I'll have the plastic when you're finished with it.

1020. Well, can we all talk about it?

1021. If— You will take the veto off

1022. if you can be convinced that we can get an audience out there.

1023. Okay, I love you. That's fine.

1024. Okay, thanks.

1025. I just do think, like, this is unique in that…

1026. - Well, I don't know.

1027. - I know, I left out George.

1028. No, I think it's…

1029. Yeah.

1030. That's what I was thinking.

1031. The box thing, right?

1032. I don't think it's practical to do it in England. It's too bloody cold.

1033. Yes, that was one of the reasons we started veering off on these ideas

1034. was when we were looking at locations that Friday after Christmas.

1035. We are in a film studio.

1036. We're going to build something so that…

1037. We shouldn't just try and build something like the Tower Ballroom

1038. 'cause we could go to the Tower Ballroom.

1039. But, once you get on a stage, you are performers

1040. and you gotta have someone to do it to.

1041. Either the camera or real people, I think.

1042. Yeah, we haven't—

1043. Any number we've done at the moment, if we've noticed the camera on us

1044. we've tried to ignore it.

1045. But you've either got to be performing directly to the people at home

1046. or to an audience.

1047. See that's why I thought like a ballroom.

1048. If we did go right back.

1049. Like, "Come to the Tower Ballroom. There's a dance on."

1050. You know? Oh, incidentally, we'll be the band there.

1051. And then we go on and we play all the numbers.

1052. But you're just not the local dance band.

1053. I don't think it's quite enough scope.

1054. I also think that people are very interested

1055. in seeing how an audience would react.

1056. Because the audience is so much part of the first half of you, musically.

1057. Okay, so we're all prepared to do it with an audience.

1058. But you can't just have the same old audience.

1059. What can you do that's new with them?

1060. If we can just think of an image, how we'd like to be,

1061. which could be like a nightclub act.

1062. Just the smoochy low lights and about ten people.

1063. What's the point, when you could be giving people happiness with a full house?

1064. Whatever kind of full house we decided.

1065. I mean, we have to think about the audience.

1066. It really ought to be the whole world.

1067. That's where— Now we're going right— the whole circle back to Sabratha.

1068. It is a location which is marvelous in itself, by the sea.

1069. What he's saying is right.

1070. It's the background.

1071. I don't think anything is gonna beat

1072. a perfect acoustic place by the water, out of doors.

1073. For a rock and roll group?

1074. Yes, I think we're gonna do rock and roll at dawn or at night.

1075. I'm sure we can do rock and roll there if we get the right audience.

1076. - George, come here. - I just wanna get it over with.

1077. - Yeah.

1078. - Hiya. - Come on.

1079. - We're going to Africa. - We're off.

1080. - We're off. - No, we're not. Not necessarily.

1081. Where to?

1082. See, it's like having the most fantastic set on Earth,

1083. but we haven't made a set, you know?

1084. How many are gonna be looking at the set besides us and him?

1085. Every time we've done an album, we've said, "Why are we stuck in EMI?"

1086. We could be doing it in LA. We could be in France.

1087. And every time we do it, and here we are again,

1088. building another bloody castle around us.

1089. - Well said, John. Well said! - And this time we do it there.

1090. I'd be thrilled to do it.

1091. Just timing it so as the sun came up just on the middle eight.

1092. I think we've got to get—

1093. Look, we were gonna give tickets away at this door here.

1094. We'd given out those tickets, but they include a boat ride as well.

1095. Okay, yeah. We're doing a live show.

1096. And we're doing it in Arabia.

1097. And it's like…

1098. Whoever has been waiting to see the lads rocking again.

1099. It's just impractical to try and get all those—

1100. But it's not, you see—

1101. Lug all them people there and try and get all that equipment.

1102. But then if it was their problem—

1103. But if you say, "That's what I want," that's what has to happen.

1104. - That's not our problem. - Of course it's our problem.

1105. Tell you what I'll offer you.

1106. If we're going away and we hire a boat to take the audience with you…

1107. - That would be knockout. - …we'll do a bloody show on a boat.

1108. That's your code name.

1109. No, he smoked some garlic once.

1110. So, like, I'll come in with you,

1111. as long as you can get a couple of boats.

1112. - The QE 2. - And then we're stuck

1113. with a bloody big boatload of people for two weeks.

1114. At least you can go home from here. You can get away from it all.

1115. I think the idea of the boat is completely insane.

1116. It's very expensive and insane, and…

1117. I think it should be the least of our worries.

1118. Money. I really do.

1119. If P&O will do a deal with Storm, they'll do one with us.

1120. We should be able to get the boat for the publicity they get from it.

1121. It's gonna be great. You'd love the place.

1122. I've moved to Yugoslavia!

1123. I may love the place, but I'd rather do the show, then go and love the place.

1124. How're you gonna get a ship in a couple of days?

1125. I was there. Yes, I know.

1126. But they were passing by and you only used them for a few hours.

1127. I've seen it, John. I went to the premiere.

1128. - Did you enjoy it? - I thought you were great.

1129. - Thanks a lot, Ringo.

1130. Still not the same.

1131. If you'll say yes, and if we get it together, then will you go?

1132. Well, I feel, as the trade says, "The vibes are very good at the moment."

1133. But we can all say yes now and somebody can decide no tomorrow.

1134. - It's not gonna make any odds. - Yeah.

1135. - Good night, everybody! - Good night, Russia.

1136. - That's a wrap. - I'll see you in Sabratha!

1137. Let's pretend I wasn't here again.

1138. This is the… Here, I'll take you to…

1139. - Do you know Michael Lindsay-Hogg? - No.

1140. Tony's a cameraman.

1141. Yeah.

1142. I better go and put in some piano practice.

1143. No.

1144. - Yeah.

1145. Gatwick Friday, Monday, Tuesday…

1146. - Isn't Tripoli in Libya? Yeah. - That's right. Yeah.

1147. That flight departs every day 3:05 and arrives 9:10.

1148. - 3:05 p.m. at night? - Yes.

1149. - That's a long trip! - That's what he told me.

1150. Six hours? Can't be that long?

1151. - Yeah.

1152. Now, what was it? Uh—

1153. I'll give you Mother Mary, "The Long and Winding Road."

1154. The only thing is, it's, um…

1155. I think— I really do think it's gonna be for the world.

1156. Yes, but they do think of you as for everybody in the world.

1157. That's one of the things I thought was good about "Jude," the guy in the turban.

1158. Yeah.

1159. …that I haven't got yet.

1160. I think it's down to if we're going to do it in this country,

1161. we might as well do it here.

1162. - But actually…

1163. Yugoslavia.

1164. Yeah.

1165. Then something about pleasure…

1166. From…

1167. Yeah.

1168. I've had lots of pleasure, but said better.

1169. - You know? - Yeah.

1170. I've had many pleasure. I've had much, much…

1171. There's no more to that yet.

1172. Just call that "middle."

1173. That's all right. "The many ways I've tried" is all right.

1174. But have you got any idea for the second verse?

1175. See, I was thinking of having another, like, the weather obstacle in that one.

1176. I suppose it should still be about that.

1177. The, sort of, winding road because…

1178. No, I think the…

1179. It's an old English folk— the words, these.

1180. That really should be like a fairy tale, though.

1181. - Once upon a time there lived a princess.

1182. And the king will sing a lullaby.

1183. No, it's one you'd know, the original one.

1184. But just at the end of it, it goes…

1185. Should be ready for a Songs for Swingin' Lovers album soon.

1186. I was just so hungry today, I had to be late just to eat me breakfast.

1187. I have a bit which might interest you.

1188. I was thinking for a song for Ringo.

1189. Like… Like a story.

1190. A bit like "Act Naturally" where you sort of—

1191. But all they said was, well, you've got to act naturally.

1192. So… it was like a comedy when I heard it, you know? It was like…

1193. - Yes.

1194. Kevin? Kevin, can we have some toast and tea, please?

1195. It's tea time now, man.

1196. Can we have some more tea, Kevin?

1197. I need sort of, like, a gallon in the morning.

1198. - Do you have access to real tea? - I've got nice tea with us.

1199. - Not that piss posh stuff.

1200. Yeah.

1201. And a little blues folk song.

1202. - Jimmy, stick 'em up. - Oh.

1203. When we was just acoustics or something.

1204. There's more skiffling on it, and it's great,

1205. 'cause they don't need any backing, really.

1206. So, "Get back, get back…"

1207. "Get back to where you once belonged."

1208. Think of some words if you can.

1209. I don't know what it's about. It's about going away.

1210. And then the chorus is "Get back."

1211. Uh…

1212. So, I just— Actually, it's not about anything.

1213. - You know…

1214. Yeah, we'll just have those words.

1215. Just words that— They're just nothing about anything. It's just, like, rubbish.

1216. The Black man will have the whip hand over the white man.

1217. - Just playing more on these…

1218. It just fades back.

1219. - Play some piano with it. - Folk blues.

1220. Much too common for me. Much too common for me.

1221. Oh, yeah.

1222. Everybody sing!

1223. - I'll be taking me shirt off. - Do it in D. I'll play with you.

1224. Do you have a tattoo?

1225. - First chance we've had… - So, do you want to try the—

1226. - Once more.

1227. Get it over here, that's where we're playing…

1228. - With feeling. With Felix. - With Felix.

1229. One, two, three, four.

1230. And this is something that happened to me quite recently.

1231. Get off!

1232. Worked in 15 clubs a day?

1233. Yeah!

1234. Yeah, she is.

1235. Get a job, cop!

1236. Bloody about time, too, if you ask me!

1237. He bloody need it too.

1238. Hello. This is Tuesday speaking.

1239. Is that Paul?

1240. - I'd like to have a word with you.

1241. I've got something of his in the garden.

1242. - I have something of interest for you.

1243. If we are in a groovy location place,

1244. we can make the show about different bits and pieces of what we've done.

1245. Or we have to do it in one consecutive piece.

1246. I think we could do both, you see? We should do it about three times.

1247. We'd settle on one day when we say, "This is the show."

1248. But we'd do a, like, dress rehearsal.

1249. Okay. Shall we do some other people's tunes as well?

1250. - That'd be nice. - I don't know any.

1251. I can only just bear doing your lot's songs.

1252. - This isn't Daddy's tea, is it? - No.

1253. Daddy doesn't like this chemical tea, you know?

1254. It turns me off but blows my mind and floats me upstream.

1255. - He's one, all right.

1256. If we can just have a sort of permanent mic on the piano,

1257. and a permanent mic for me.

1258. So we can hear both of them, you see, Glyn?

1259. - Great. - Hah.

1260. Words are flowing out like endless rain into a paper cup.

1261. Dear Apple.

1262. They slither wildly as they slip away across the universe.

1263. "Shakin' in the Sixties!"

1264. The noise is a little too loud for me.

1265. Leave the group then if you don't like it.

1266. - Come on. I've done all mine.

1267. Both of mine.

1268. So, we'll go through it once and just roughly get it in our heads.

1269. Do you want the bass in for the riff?

1270. Do you want the bass in with the riff?

1271. - Don't know. - Okay.

1272. Well, I'll just play it by ear then.

1273. So then it goes…

1274. The rhythm of that bit.

1275. I just feel it needs something really sustained.

1276. - Yeah, how about some words?

1277. Thanks.

1278. - Yeah? - Yeah. Like…

1279. - The way I was playing, was starting on F. - G.

1280. "Whisper words of wisdom, let it be, let it be."

1281. But I end up on the wrong one when you're all moving on to F.

1282. F, C, G.

1283. - Oh, miss the F? - C, G, to C.

1284. So, yes. So then, you see, you get this…

1285. "Whisper words of wisdom, let it be, let it be…"

1286. You play that.

1287. It seems that it's all happening

1288. a little bit too quickly with them both coming in at the same time.

1289. - Yeah. - That's all.

1290. When do the drums first come in, guitar, and all that?

1291. Well, Glyn's saying first time they come in…

1292. - He seems to be arranging this. Come on.

1293. - Go on.

1294. - Could have bass there with a… - Only if you ask nicely.

1295. - You want me on the verse? - Yeah. Come in, bass.

1296. On the verse when he comes chapping…

1297. - Well, I was thinking of it, yeah. - Yeah.

1298. - Glyn and I have thought… - Glyn and…

1299. One, two, three.

1300. Forty million Churchills can't be wrong.

1301. Forty million Churchills can't be wrong, but one de Gaulle can.

1302. - We've got a charming one here.

1303. "I Wish I Had Died in My Cradle."

1304. I don't know.

1305. "Lisp Of A Baby's Prayer."

1306. "Alphabet Song." What's that one?

1307. Oh, Christ, I don't know the whole catalog yet.

1308. 4,000 songs is a lot to absorb.

1309. - In the morning? - Perhaps.

1310. - "Nobody Loves a Fairy When She's Forty."

1311. This is it? This is the lot?

1312. This is a very good list. That's the entire catalog up to '65.

1313. Yeah. Yeah.

1314. Is this the catalog that's just gone on sale?

1315. - It's the one we just bought. - You bought it. Oh, great.

1316. - Which includes Paul and John. And— - Just about.

1317. - What are you talking about, "Just about"? - Nothing. Uh, no comment.

1318. Very substantially, sir.

1319. Yes, right. Okay.

1320. - Mm-hmm. Marvelous catalog. - Oh, it's an incredible catalog.

1321. And we'll start on reprinting a great deal of this music,

1322. because sheet music and song albums is an expanding market now.

1323. Right, right. Yeah, yeah.

1324. You know, 12 songs for five bob is more than ample. That's good value.

1325. - Yeah. - Great.

1326. Yeah.

1327. - "Carolina Moon," my Uncle Ron's favorite. - Well.

1328. He sings it at all the parties. All right!

1329. Come on, Paul.

1330. The Copyright Act

1331. and the payment for a performance of a fee didn't start until 1911.

1332. But who buys sheet music?

1333. Is it mainly piano people?

1334. No. Guitar people.

1335. Yeah.

1336. Well, a lot of our stuff, I don't know whether it does any more,

1337. because we always publish our lyrics now, you know?

1338. But you see, particularly where the boys are concerned,

1339. they create the song, right?

1340. And I give it to my music scribe and he has to take it down.

1341. And he's a very good man, very experienced.

1342. He can make mistakes, but in an effort to eliminate this now

1343. we check the lyrics with John and Paul, they okay the lyric…

1344. - Hi. - Hi, George.

1345. - Hi, George. - Hi, man.

1346. I'm well aware. You're very welcome.

1347. Something to drink out of or the wife can throw?

1348. Which I sang in my heyday.

1349. - Hi, Georgie. - Hi, Mike.

1350. Hi, George. How are you?

1351. It doesn't even seem high to me.

1352. - Well, these are gilt-edged songs.

1353. - Morgen. - Morning.

1354. - Didn't Neil ring you last night? - No.

1355. Take hold of this.

1356. If anybody says anything interesting, remember it.

1357. - Not really.

1358. Uh… Neil would like us to have a meeting.

1359. - Saturday? - Yes.

1360. He was very excited and—

1361. - Was he? Good news or— - Yes. Very.

1362. Oh, all right, I'll come for good news.

1363. You watching?

1364. Yeah.

1365. Yeah, I think it's gonna be a double-sider.

1366. And, uh, we've set it for release— We've set it for release in the States.

1367. She's doing it on The Rolf Harris Show tomorrow night.

1368. - Is she one of your artists? - She's an EMI artist.

1369. And we have some territories,

1370. then EMI puts them out in other places.

1371. - Okay, shall we start? - Yeah.

1372. I'll send some, um…

1373. I'll send some discs down, Paul.

1374. Okay.

1375. Should have pressings up, um…

1376. Well, I think they were up last night, but they were up too late for me to get them.

1377. That was a nice start.

1378. Bye, Dick.

1379. I dig this. I do.

1380. Yes.

1381. Yes, yes!

1382. We've never learned so many new numbers at once. Have we?

1383. Yeah.

1384. - That's it. It will be better, that. - Yeah.

1385. Well, should we just redo this one?

1386. - I still haven't got words on this. - Yes.

1387. Yeah, let's have it like that. Just have a big, held chord.

1388. All of us just hold a chord of, like, A.

1389. But you creep up with drumming. So it goes, "One, two, three, four."

1390. Only even more like, sort of…

1391. So you…

1392. You'll have to do something like lead to…

1393. What was the record?

1394. - There's one record of ours. - Should be more like…

1395. But even in the—

1396. That suggests something to me. That chord.

1397. - Yeah.

1398. And also, that's why I like—

1399. That's why "Get Back" suggests any old number like this.

1400. So if we have harmony on it and try and make it—

1401. Yes?

1402. - 'Cause it's a bit ordinary, isn't it? - So— So you don't want that?

1403. The "Get Back" bit's the ordinary bit.

1404. Yeah, but it's all right. I mean, but we should—

1405. We should try and get away from…

1406. - Get away from that? - Uh, no—

1407. Yeah, but I know. I mean, just get away from the way…

1408. Where did we get that chord? You know? There was a song we got that chord from.

1409. - There was one where we sort of— - Booker T. and the MG's.

1410. - Booker T. Yeah. - But there's lots…

1411. But it's passé, you know? It's like— It was a couple of years ago.

1412. No, it wasn't. That's just a chord.

1413. I know, but, you know. Yeah, but—

1414. - Chords like fashions and stuff… - And some chords fit things.

1415. But it's like drainies.

1416. - Yeah, but some drainies… - They're still drainies, but…

1417. …suit different occasions and Oxford bags—

1418. The thing is, that's good enough for the rock and roll thing, but—

1419. - No, you don't. You need, like— - You need George Harrison.

1420. - You need George Harrison. Yeah. - Mmm.

1421. But just doing simple things until it's your go.

1422. Because I'm trying to sing louder to get over the guitar.

1423. Yeah. But— but if you do the offbeat with Ringo.

1424. See, but don't—

1425. If you vamp, then it— then it takes away from his vamping.

1426. I think, you know?

1427. But it's like that. It is like that.

1428. It's like the big, soft lead guitarist, you know, who just stands there and just—

1429. - Little, soft lead guitarist. - Well, you know—

1430. No, but the big one in my head, where he just sort of goes…

1431. But you can either do that soft or good, you know?

1432. You don't…

1433. It's that thing, you know?

1434. - I mean, "She's a Woman." - Yeah.

1435. That was just a better rhythm than we have, you know, because—

1436. And "Sgt. Pepper" on the organ. It's just…

1437. None of you are trying to do any of it.

1438. Okay. I'll just write it down then.

1439. - Yeah, and the Puerto Ricans. - Yeah.

1440. She thought she was a woman.

1441. Jo Jo.

1442. - What's a Western name? - Jo Jo went and left—

1443. - A Western name? Jo Jo…

1444. - Go on. - Perkins.

1445. Jo Jo Carter?

1446. Jo Jo Williams?

1447. Jo Jo Braxton. Jo Jo Pepper. Brennan.

1448. Yeah.

1449. That's it. You know, it'll go—

1450. Well, you know.

1451. I think it needs a bit more of that, this one.

1452. Needs a bit more of that.

1453. In fact, maybe you shouldn't both do that.

1454. - Could you stop playing for a minute? - Yes, all right, Paul.

1455. …while I'm trying to talk to you about this arrangement. Thank you.

1456. - Could we go for lunch? - Is it lunch already?

1457. Yes.

1458. Yeah.

1459. - We aim to please. - I rang Chris and—

1460. Mmm?

1461. Oh. So pissed.

1462. - No.

1463. Yeah.

1464. Stop it! Stop it!

1465. - Ooh. What a buzz.

1466. What a buzz.

1467. "I've Got a Feeling." Okay, George. Take it.

1468. Yeah, rock it to me, baby.

1469. That's what I like.

1470. You may think this is a full orchestra, but if you look closely,

1471. you can see there's only two people playing and one person singing.

1472. I know it sounds like Benny Goodman, but don't worry.

1473. It's the big sound of 1969.

1474. Maybe for the show, I mean, you could just say George was sick.

1475. No. I mean, if he leaves, he leaves.

1476. Anything you say, dear!

1477. - John, John! - I've brought the tea.

1478. John!

1479. Yes?

1480. I saw him!

1481. - Terrible! - Shit!

1482. Yeah.

1483. - So cats and kittens, what we gonna do?

1484. The thing about Orson is he's very funny.

1485. We were in Belfast,

1486. rehearsing the stage version of Chimes of Midnight.

1487. And one day he walked off the stage.

1488. - "See you round the clubs."

1489. - He came back an hour later.

1490. Get in your bag!

1491. Get in your— Get in your bloody bag!

1492. - Not again! - Go on!

1493. The Mersey Beat Awards for the Best Couple of the Year…

1494. …goes to John and Yoko.