The Beatles: Get Back 1x2

1. - Cut.

2. Again. No, cut.

3. - Ready? - Okay.

4. - Turn over. - Turn over, lads. Thank you.

5. Turn over.

6. - Sit down over here… - Shall we sit over here?

7. Yeah.

8. Hi.

9. How was the meeting?

10. The meeting was fine.

11. A lot of good things, but then, you know…

12. they all sort of fell apart in the end.

13. I just spoke to Neil, who's calling a couple of your colleagues

14. to see if they're also gonna come.

15. Couple of colleagues told me last night

16. that they would be there the same time.

17. Neil expressed an opinion that no one was coming.

18. Well, phone Neil and tell him I'm here for lunch.

19. Have you got enough for a good documentary?

20. It depends how liquid the situation is.

21. Use it all.

22. Well, in other words, if we tell it like it is,

23. then we've got a very good documentary.

24. But if—

25. We're hiding.

26. If we're hiding, then we don't have much of a documentary.

27. We just have a couple of days when things didn't work out, that's it.

28. - Yeah.

29. Yeah, I'll take it.

30. - I'll take them for him. - Okay.

31. I had strict instructions to bring them on the set.

32. Yeah, okay.

33. - Harry who? - Hare Krishna.

34. Do you like India?

35. No, not really.

36. Did I tell you my wife's definitely confirmed pregnant?

37. - Oh, good. - Yeah.

38. - Congratulations. - Well pleased, yes.

39. I wouldn't mind knocking one out.

40. - I really love kids. - "Knocking one out."

41. - Morning, morning, morning. - Morning, morning.

42. Thank you.

43. - Hello. - Hello.

44. - Morning, Linda. - Morning.

45. - It's… - From The Circus.

46. - Here we are. - Neil spoke to me and he said…

47. He, A, said he'd call me back at 11:15.

48. Then when I arrived back RS was here.

49. And PM was on his way.

50. PM was on his way. And, uh…

51. JL was in bed.

52. JL was in bed.

53. Morning, Neil.

54. Good morning, Glyn.

55. - Did you get in touch with John? - I couldn't get him.

56. I don't know.

57. Mal couldn't get him either. You can only get the machine.

58. 'Cause I have a feeling that half the stuff Yoko said yesterday isn't—

59. She was talking for John.

60. And I don't think he really believed any of that, you know?

61. No, so, it's—

62. John didn't talk, so Yoko talked for John.

63. In the middle of all that, actually…

64. See, but their point is that they're trying to,

65. like, be as near together as they can.

66. They wanna stay together, those two.

67. So it's all right. Let the young lovers stay together.

68. But it's not that bad, you know.

69. We got a lot out of Beatles, so that if— I think John's thing now—

70. - All right.

71. Are we running?

72. Yeah.

73. Funny enough, the other day when we were talking,

74. John had said that he really did not want not to be a Beatle.

75. Yes.

76. - Oh, yeah. Sure. - Are you—

77. We'd cooled it because we were not playing together.

78. 'Cause we lived together when we played together.

79. We were in the same hotel,

80. up at the same time every morning, all day.

81. As long as you're this close all day, so something grows.

82. And then when you're not this close, just physically, something goes.

83. Right.

84. Actually, musically, we can play better than we've ever been able to play.

85. You know, we're all right on that.

86. It's just that being together thing.

87. It's difficult starting right from scratch with Yoko there.

88. 'Cause I start out writing songs about white walls.

89. - Just 'cause I—

90. You know, just 'cause I think John and Yoko would like that.

91. And they wouldn't.

92. So, I just think it's just silly of me or anyone

93. to try and say to 'em, "No, you can't."

94. It's like— It's like that we're striking 'cause work conditions aren't right.

95. But it shouldn't be.

96. "Can't operate under these conditions, boy. We're coming out."

97. It's like they're going overboard about it.

98. But John always does, you know.

99. You can't go saying, "Be sensible about it and don't bring her to meetings."

100. It's his decision, that.

101. It's none of our business, like, interfering in that.

102. Well, I think for them to be able to compromise,

103. I have to be able to compromise first.

104. Then they'll be able to.

105. But it's silly, neither of us compromising.

106. We probably do need…

107. really, sort of a central daddy figure

108. to say, you know, "Nine o'clock, leave your girls at home, lads."

109. You know, we're all…

110. But it's gonna be such an incredible sort of comical thing, like, in 50 years' time.

111. "They broke up 'cause Yoko sat on an amp."

112. - Just something like that. "What?"

113. "You see, John kept bringing this girl along."

114. What?

115. It's not as though there's any sort of earth-splitting rows or anything.

116. Lid on the parrot's cage.

117. Uh, if we were gonna take a ship's pool

118. on what our communal life is gonna be

119. in the next two weeks, what are we all betting?

120. We should cancel that 18th day.

121. 'Cause it should definitely be the 19th.

122. I mean, already, 'cause we're gonna lose today.

123. I think we see the end of this week out

124. and something will have happened, definitely.

125. Even if it's only nothing?

126. I was talking to Neil last night about an idea I thought of for a TV show.

127. We should get, like, say, the editor of The Daily Mirror,

128. a real hard news nut, rehearsing a team of really hard, incredible newsmen.

129. So that on the night of the show, in between all our songs is news,

130. but the fastest and the hottest from every corner of the Earth.

131. "We just heard there's been an earthquake"… filming it.

132. So it's like a red-hot news program.

133. And at the end, the final bulletin is that The Beatles have broken up.

134. But do you think if you put any pressure on him,

135. that he'd go your way a bit more?

136. I don't know.

137. - Speak to John? Yeah, okay. - Hey, you know, it's that thing…

138. The world's dying to see them. That's the thing.

139. And if I were there, I'd be staring at them.

140. Yeah, not only them, you know, and they were 40 miles away.

141. But the audience, the screams, the lights—

142. Look, we looked at Help! the other night again

143. and, like, A Hard Day's Night, and that was them playing.

144. Right. But it was them over an hour and a half—

145. It was them. Just—

146. I'm speaking like a fan. I really am.

147. - Oh, okay. Should we fight about that? - Yeah.

148. Did you take a photograph?

149. - I was gonna say there are only— - What's new?

150. - So is he lighting his, uh… - Lighting up a Players.

151. And jumping on his hands.

152. You see, Paul, I was saying to Linda when you were out

153. that I can do it any way,

154. except I gotta keep saying you're wrong when I think you're wrong.

155. Yeah. Sure. Great.

156. I'll just keep saying I'm right when I think I'm right.

157. Yeah, of course.

158. Because otherwise I abdicate both my fanship and also my, uh…

159. No, come on. You stay out of this, Yoko.

160. And you're right.

161. - You got any pep pills? - Okay, Mal.

162. Could I have a couple?

163. We've got an hour.

164. Yeah, none of that, I reckon.

165. Do an hour, just so, uh…

166. I just knew it has to be…

167. Okay. Sweet Loretta Marsh.

168. Marsh isn't nice, is it? Marsh is too—

169. Loretta Mary— I mean, it's gotta be a name—

170. What's that one?

171. Marsh.

172. Uh, but we're not sure about that, but put it in.

173. It's gotta be, like, one of those hard, "night,"bite,"right."

174. Leave that verse, eh, 'cause it's— It could be all right, that verse.

175. It sings all right.

176. - Okay, the next verse. - Jo Jo Jackson.

177. - "Left his home in Arizona," is it? - That's all right.

178. - Yeah, "home in Arizona." - "But he knew it couldn't last."

179. No that's not good. "But he knew it couldn't last."

180. "Jo left his home in Tucson, Arizona."

181. - Is Tucson in Arizona? - Yeah. It is, yeah.

182. I can make sense of it.

183. Jo Jo left his home, hoping it would be a blast.

184. Pretty soon he found that he'd have to be a loner

185. with some California grass in America.

186. You make that make sense, but it doesn't sing good.

187. - Is it Jo Jo?

188. Looking for a what? What is it?

189. No, looking for a…

190. One, two, three.

191. - Okay. Can we go home now?

192. I think at some point we should talk conceptually about the show.

193. Okay, we have to be flexible, but we're gonna have to be very flexible now.

194. Which is like, the 18th today has changed to the 19th.

195. 'Cause we lost a day today.

196. Tomorrow it will change to the 20th.

197. The day after, it will change to the 21st.

198. Well, exactly. If George comes back, yeah.

199. Put it back a full week, yeah.

200. Put it back a full week.

201. But book it for a full week and then cancel it next week.

202. Not to say changeable.

203. "Baby's in Black," "If I Needed,"Tripper."

204. I mean, that's how flexible we can get.

205. "I Feel Fine," "Yesterday,"I Wanna Be,"

206. "Nowhere Man,"Paperback,"Long Tall."

207. - What's it from? - That's from the old shows.

208. And, like, lot of old tunes had just set chord patterns.

209. 'Cause that's the great thing. Once…

210. Once you start trying to find out chord patterns, you really suss

211. what people are doing, what musicians are doing.

212. And they really, it's…

213. - You know, it's like…

214. Like, old tunes, you know, they had just a certain way of going.

215. And they hardly ever varied from that.

216. I don't really know it, you know? My dad knows that better.

217. The great thing about a piano is that, there it all is.

218. There's all the music ever. That's it, you know?

219. All this that's ever been written is all there.

220. See, it's still basically only one, two, three, four—

221. Yeah.

222. You know, okay, so that's getting more complicated than the three,

223. - but it's still only— - Yeah, sure.

224. - Used the same way, presumably? - Yeah.

225. And from there, you know, like, there's no—

226. Unless you stop yourself, there's no stopping yourself.

227. No.

228. - Yeah.

229. And then there was one.

230. Good! I'm glad to hear that.

231. - Morning, Paul! - Good morning, Rich!

232. - How are you this morning? - Okay!

233. It's fine, thanks.

234. Use two hands.

235. Well, that's me finished.

236. At least we're keeping together.

237. I wonder if Peter's still got the original thing of that.

238. First time we did it, it was little. It was great, you know. It was really…

239. That is the great bit Gordon did.

240. Gordon couldn't get the high notes, and he would sort of—

241. And he'd just let them go and do it again. But they did it the next time.

242. It was a mammoth Peter and Gordon treatment.

243. That's right. Yeah.

244. Whatever I'm around, you know?

245. Yeah, sure.

246. In fact, I had one this morning.

247. - It's just for you.

248. Nice.

249. Thank you, Michael Lindsay-Hogg.

250. Director of this epic.

251. That's the first thing you ever said to me.

252. What?

253. At Chiswick Park, years ago, when we did something,

254. you said, "What kind of tree is that?" and I said, "It's a yew."

255. - And you said, "No, it's not. It's a me." - Did I really?

256. - I thought, "Beatles humor." - Yeah.

257. I see the sets are arriving, fellas.

258. - Yeah, the sets are coming in. - Yeah, nice.

259. Hey, should we shoot the train coming in, chug-chug.

260. - No, no, no. - Why not?

261. It's copyrighted.

262. Well, it's a documentary.

263. Just turn your lights around.

264. But it's a good shot for the part of the atmosphere.

265. - Oh, come on, Tony. Oh, fuck. Oh, no. - Jean-Luc Godard?

266. We could make a film, you know?

267. Just get a script and all that, and really not waste all this camera time.

268. - Do a little sort of film. - Yeah, right.

269. Yeah, we can make train movies.

270. We've got a spare few thousand feet, haven't we?

271. We've got a spare few thousand feet. We won't tell Denis we're doing it.

272. - Let's make a silent movie. - Yeah.

273. Slow so it's speeded up when we play it back,

274. 'cause they're always funny to watch.

275. Yeah.

276. Can we have it in a club? You know, the atmosphere is a club, and…

277. That's it. We're in a band.

278. We're in a band who sell drugs.

279. - Do you want to be a goody then, Glyn? - Uh…

280. Come on. Now, you're sulking, aren't you?

281. - Wants to be a goody.

282. - The roughneck that changes. - Yeah.

283. - Bit of sentimentality. - The hard drug-peddling yob…

284. - With a good heart. - …who turned to religion.

285. Ringo's the teacher— the schoolteacher who goes to see him.

286. - Mal's the policeman gone wrong.

287. We shouldn't waste all this camera time.

288. Tony can shoot it. We can do a movie today.

289. No, Tony's in it. He's the fence.

290. - Can I be in it? - Where Glyn gets rid of the drugs.

291. Just so long as I look thin, Tony, I don't care.

292. - Then go through there? - No.

293. No, if you do it that way, it's like hanging yourself by your arse.

294. - Help, no legs.

295. Seen The Good, the Bad and the Ugly?

296. - No. - That's great.

297. That's the trouble. You get the panic about halfway up.

298. When you realize you can't stand heights.

299. - There's no business like show business.

300. What is it? Straight up to the top and back?

301. In the old days, boys, you used to be able to—

302. In the old days— That was me!

303. Any minute now, it gets dangerous.

304. - Well, good night.

305. - It's a wrap.

306. Well, that's all for this evening.

307. Funny you should've said that—

308. Very good. I think— It was nice when the camera came up.

309. - I think they got— - What you said.

310. - …exactly what you mean. - All right.

311. Well, it's a chance to speak.

312. I know. It's the only chance we get. We—

313. There's only Cliff doing his bit, really and—

314. Well, I left the clergy about '59, you know.

315. I thought I better get in with the kids.

316. It all started with Rosie.

317. - Well, a lot of us did. - She was in the congregation.

318. - A lot of us started with Rosie, actually.

319. - It was rehearsal rooms.

320. Also leaving for the Midem Song Festival is John Rowles.

321. - Oh, he's not?

322. - He's flying out.

323. See you've given up smoking, Richie.

324. Yes, I have.

325. Now, we were going to discuss this afternoon

326. what religion meant to a pop star.

327. And the pop star we've chosen

328. is Tumble Starker, who's sitting here.

329. Tony, Denis is gonna worry about the footage again.

330. Don't tell him you're shooting.

331. - How are you? - All right.

332. Welcome to Panorama.

333. - Hello. - Hello.

334. How are you? Pleased to meet you.

335. - We've been lucky enough this evening

336. to secure the, uh, talents of Mr. Peter Sellers here

337. who is going to give us number three.

338. Yes.

339. Number three, folks, number three.

340. - Number three. - How about that, folks?

341. That was number three from Peter Sellers.

342. - Now on to the next round. - Number three.

343. Well, if we ask him really nicely,

344. - he'll probably do a number five. - Yes, I might.

345. Long, tall Sally, pretty sweet.

346. She got everything Uncle John need. Oh, boy. Baby.

347. Your chance to win a fab, free Beatle.

348. - Send in 39 disk tops.

349. - Wake up, Lennon. - Wake up, Lennon. It's about time.

350. What, uh— What are we discussing at this moment? What's the, uh…

351. - The film.

352. Ah.

353. This is the impromptu mic.

354. It's a documentary of how The Beatles work.

355. It's a spontaneous— A spontaneous documentary.

356. 'Cause we feel we shouldn't keep it all to ourselves.

357. We should spread it out, you know?

358. We want to share with the world what we have, Peter.

359. - And— And this is what we have.

360. Ah.

361. Well, this is— we just sort of sit here

362. and allow ourselves to be embarrassed

363. - about this time every day.

364. - Oh, yes. - Number nine.

365. You're talking to the ninth-best-dressed male pop singer in the world, you know?

366. - No mean city. Yes. - And Judy Garland.

367. Look out, Tom Jones, I say.

368. - Over to you, Peter.

369. Very kind of you, but I— I must be off.

370. Mm-hmm.

371. Well, nice to have met you, fellas.

372. Other guys.

373. - See you. - Bye-bye.

374. - Bye. - Too much, Pete.

375. - Bye-bye.

376. - Way out. - All right.

377. - All right. Way out. - Exit.

378. - It's that way. - Yeah, wrong way.

379. It's that way.

380. - All right.

381. Just don't leave the needles lying around.

382. We've got a bad reputation now with John getting busted and that.

383. - Do you really not feel well? - No, I just feel a bit—

384. I don't feel well, but I can't say, 'cause I'm the captain of the ship.

385. Nowadays, the captain gets off first.

386. No, I'd go down with the ship.

387. If we hang around a bit longer, we'll get Ringo being sick.

388. See you missed me this morning. I did it for CBS.

389. - Leapt off in the middle of the interview. - Did you?

390. Actually I'm just recovering from the day, you know?

391. From the night.

392. No reason at all, except that I'm mistreating my body.

393. Yes. I just was up late, you know.

394. I was sort of stoned and high and watching films.

395. And I wouldn't have made it anyway.

396. Is there any need to do this in public, Mr. Lennon?

397. At the moment you're a guest for lunch.

398. Yeah. But it's not good.

399. If I'm gonna come at 10:00 I should come at 10:00.

400. Up with the dawn, down with the sun.

401. Ringo ever, Eric never.

402. Okay.

403. Shall we knock off early today, or not?

404. Probably, yeah.

405. Shall we knock on early tomorrow?

406. Yes, I'll do that.

407. Yeah.

408. "When I was younger, so much younger than today,

409. I never needed anybody's help in any way.

410. But now my life has changed in oh so many ways."

411. A wop-bop-a-loo-ma. Ba-lim-bam-boo.

412. We can't carry on like this indefinitely.

413. - We seem to be. - Doing this.

414. We seem to, but we can't.

415. See, what you need is a serious program of work.

416. Not an aimless rambling amongst the canyons of your mind.

417. An aim in life.

418. Trip upon that golden ship of shores.

419. We all together, boy.

420. To wander aimlessly is very un-swinging.

421. Unhip.

422. Well, "When I touch you, I feel happy inside.

423. I can't hide. I can't hide."

424. - "Ask me why, I'll say I love you." - What you need is a schedule.

425. Achieve something every day.

426. - It's so hard, right? - It's rather hard to live up to, Paul.

427. I'm planning on 11.

428. It's 12 to 14, Mal.

429. It's a choice of six.

430. Some ready to wear and some made to measure.

431. We were talking earlier.

432. About the space between us?

433. About the gap between us.

434. But about also the documentary, which is grinding to a halt. How do we do it?

435. Grinding to a halt? I think it's taking off.

436. Exactly. Here we go.

437. "Loop de loop," as Frankie Vaughan once said.

438. The one-legged wonder.

439. Ringo said that he thought we ought to just tell it like it is.

440. I think we are.

441. Once upon a tarmac,

442. there lived a small baggage who suffered incredible distortion on his right leg.

443. He took it to all the doctors, and they said…

444. But one day…

445. Happy ever after.

446. - Ah!

447. - Sir Joseph.

448. It's about this deal with FBI.

449. I need another million…

450. and the written acclamation of Dick James.

451. I know it's hard. I know it's hard.

452. They died that we might wank.

453. I'm talking about the Boy Scouts who aren't allowed to masturbate.

454. Oh.

455. It's very tempting when you're wearing shorts.

456. If they only wore long trousers, maybe they'd stand a chance, you know?

457. But I can tell you, you don't go blind but very shortsighted.

458. Are you talking from experience then, John?

459. - Right. Guitars?

460. - I thought that's what they do. - That is what they do, but you can't—

461. Could even sing you half a song I was writing.

462. - Come on.

463. - Well, it's been lots of fun.

464. We ought to figure out, like, do you wanna go on rehearsing?

465. Or do you want to move into EMI and just maybe do an album?

466. Well, it all rests on when we see—

467. I think we stop filming now. As a matter of policy.

468. - I mean, I know— - But—

469. - That's a wrap for you, lads. - Let's take it home, Jim.

470. - Yeah.

471. - You right, lads? - Yeah.

472. - Running up here.

473. - Running. Running. Ready. - Speed.

474. Pretty sure we're going.

475. Switch off your two green, Steve.

476. - And just here. - Hold on. Hold on, everybody.

477. Please believe me, darling.

478. Oh, darling.

479. Please believe me.

480. Yes, sirree.

481. I'll never do you no harm.

482. One, two, three, four, five, six, seven, eight, nine, ten.

483. One, two, three, four, five, six, seven, eight, nine, ten.

484. This— This is not controlled.

485. - If somebody is upstairs— - No, we don't have control.

486. We've got to know how to record. Listen to that.

487. One, two, three, four, five, six, seven.

488. Dave, why don't we use this one?

489. We can't record without doing it.

490. In the meantime, can we have—

491. - Cheers, man. - Thank you.

492. Now, Dave, can you control it in there?

493. Yes.

494. We've been doing this film for the last, sort of, two weeks,

495. and we've noticed you every day at Twickenham Studios and also here.

496. You stand outside all day long. Can you tell us why?

497. What do you think of John Lennon and the relationship with Yoko Ono?

498. - It doesn't worry you at all? - No.

499. It's got nothing to do with anybody else really, has it?

500. Not really. That's a good answer.

501. And you've obviously read in the papers about the possible split of The Beatles.

502. I mean, how does that sort of affect you?

503. As long as I can see him it's all right.

504. What would you like to see The Beatles do now?

505. - God, what a question. - A show.

506. Yeah. A live show.

507. - Any show. - Yeah.

508. It was lovely walking in here yesterday after Twickenham. It really was.

509. In retrospect, I'm glad we got out.

510. Something queer about Twickenham, I don't know what it was.

511. - Too big. - Too big?

512. For what we were doing, you know.

513. And this is nicer.

514. I'm on a special diet as of today.

515. - What are you on? - No food.

516. Oh, poor, why?

517. I just feel a little heavy.

518. When you get out the bath and find you're not admiring yourself in the mirror.

519. Too much to admire.

520. You going to do everything in here? Rather than go to EMI in future?

521. - Unless you mean big orchestrations. - Don't know till we hear it.

522. George was saying good thing you have to fight certain things at EMI,

523. so it's much better when it hits the record.

524. - Aye. - Mmm.

525. It's a much more real sound, what the customer buys.

526. Have you said good morning to Fred?

527. You'll be able to get rid of these things once we get set up.

528. - What things? - The boom mics.

529. This is for intimate, unobserved conversation

530. in the middle of the room, though.

531. Unobserved conversation?

532. We should get really underway today, I think.

533. We really got underway yesterday. It was a good day yesterday.

534. Yeah. From your point of view. I'm talking about from my point of view.

535. Oh, yeah, you should get on with it.

536. How late did you work last night?

537. About twenty past seven.

538. It's just that. But it could have gone longer too.

539. Mmm. You get me a small—

540. - Morning. - Morning, George.

541. - You're looking very— - Pink.

542. - Yes, very clean and in order. - And even washed and in order.

543. - I hear yesterday was good? - Mmm.

544. - Work-wise. - Yeah.

545. Good.

546. - Good vibes, man. - Yeah.

547. Morning, Glyn. How are you?

548. - Morning, Glyn. - Morning, Glyn.

549. - Morning, George. - What are we doing?

550. What are all these people doing?

551. They've come to look at you, John.

552. Now, who can we find to switch off this ventilation? Mal?

553. It's so freezing in here.

554. I was listening to— I've told everybody.

555. You know the Around the Beatles thing?

556. - Oh, yeah. - You did the sound. Great sound.

557. I just heard it over the weekend. And we were great as well, you know?

558. - You were, actually. Yes.

559. The acetate's great, 'cause we got all the sort of rockers first half,

560. and all, you know, "Love Me Dos" and "Please Please Me" the second half.

561. The rockers are so great, all the kids screaming.

562. But the sound was great.

563. I love when you play rock and roll.

564. Oh, George, before I forget it. Where do you—

565. Ah, well, any good music shop. There are a couple near here.

566. Chappell's will have it, yeah.

567. But I think, you see, we ought to get together.

568. See if we're gonna have it out of doors, whether people just turn up.

569. Uh, are you still trying to do it with all people, audience, all in one go?

570. Yes. Shall we say we'll do it this weekend week?

571. The problem with Glyn, I'd like him—

572. You know, if he's starting the thing, I'd like him to finish it.

573. It's silly, really, to change horses midstream.

574. I know.

575. "Drugs, divorce and a slipping image."

576. And it says, "But it wasn't the first time they've traded a few punches."

577. Yeah.

578. There's only one guy I'd like to get, and that's Housego.

579. It's really extraordinary, the last week's press, isn't it?

580. Because there's nothing to it except that it's a lie.

581. Hope it doesn't come out about me beating up Maharishi.

582. No doubt Derek will have read it before it got in there

583. and has sent them their telegrams and things.

584. Congratulating them.

585. Morning, Denis.

586. - Don't you think it's suable? - No.

587. - What about the fisticuffs? - Yeah, none of that.

588. He said it didn't take place, right?

589. - He said it did. - No.

590. - Oh, crumbs. - Yes, he did.

591. He said "might have."

592. Yes. In the past, well, that's false too.

593. It's never got to that, except for a plate of dinner in Hamburg.

594. The picture's great, yeah.

595. George Harrison, the sane one, speaks out.

596. I read it before the riddles.

597. Would you like to do the link into The Stones for The Circus?

598. - Or would you not like to? - What's that?

599. We've found we haven't shot anybody announcing The Rolling Stones.

600. Oh, I see.

601. - Well, what kind of— - It would just be, uh…

602. "And now, ladies and gentlemen, your host for this evening, The Rolling Stones,"

603. or words to that effect.

604. - If it's straight, then I'll do it. - Yeah, it's straight.

605. And now, your host this evening, Rolling Stones.

606. - Did you see Hancock? - Yeah.

607. I'm playing it right.

608. That's Keith Moon.

609. See that? With the sound on, I…

610. Turn me on, man, will you?

611. Can you juggle?

612. - It's the one thing I really— - Watch.

613. So uncoordinated.

614. No, I can't juggle.

615. Can you juggle, RS?

616. While he juggled, I knifed up the wall.

617. Ready for three.

618. "Beatle George Harrison, above, is due in court here today

619. to answer assault charges.

620. If he does not appear, he will be given an immediate jail sentence.

621. Harrison is accused of assaulting a photographer last May,

622. as he and Beatle Ringo Starr left a nightclub."

623. Hey!

624. Does the PA come before or after the limiters?

625. After, isn't it?

626. Can you move the speakers behind Paul a little bit further round?

627. Glyn?

628. When will you be set up to tape something?

629. Haven't they got it plugged up?

630. Are we not in that situation yet?

631. No answer.

632. It's all right. Not yet, you mean?

633. It's been made up by Alex.

634. How do you tune it?

635. What?

636. It looks like he's—

637. Let's give him half a million quid.

638. It looks a good idea.

639. - Yeah! - Two-sided bass/rhythm…

640. And let's give it him just for this!

641. I'll put it on show.

642. He might have something in that though.

643. You never—

644. He'd have to just have less sides.

645. There it is now.

646. - Yeah, two sides. - Two sides and one…

647. You're gonna get all your strings rubbing on your hand.

648. Tell him to build a prototype.

649. Better be good!

650. - Glyn, can you look into the PA thing? - Let's think in terms of—

651. We still haven't had a really good PA sound yet.

652. You know? If we're gonna do it here, let's try and get one in this room.

653. 'Cause we still haven't had that, where we're knocked out with what we hear yet.

654. - I say it now so we can get on with it. - No idea.

655. All right!

656. Drop me off tonight?

657. Will you drop me off tonight?

658. It's on your way, is it?

659. A-ruff!

660. Okay.

661. - Do something for them. - Okay, boys.

662. Okay, boys.

663. Let's cool it for once and get it real going for a change.

664. Hold it now and don't move.

665. Another Lennon/McCartney original entitled…

666. - Yeah. Okay. - Thank you.

667. "All I Want Is You," "The Long And Winding Road,"

668. "Bathroom Window,"Let It Be."

669. - "Bathroom Window"? - "Across the Universe,"

670. "Get Back To Where You Once Belonged," "Two Of Us On Our Way Home,"

671. "Maxwell's Silver Hammer," "I Got A Feeling,"

672. "Sunrise,"I Me Mine."

673. - "Sunrise"? - "Sunrise"?

674. Uh, "Sun"-- "All Things Shall Pass."

675. - Oh, my— - They mean—

676. You threw me there.

677. I thought, I was away a day, they learned a fucking tune.

678. They learned a fucking tune.

679. Over there.

680. Over there.

681. If we're just trying to make the album,

682. I think we should just start it straightaway.

683. I think we're just gonna sing them live to the camera.

684. So we'll probably just do about half an hour.

685. It's not me, is it?

686. - Is it me?

687. It seems to be this mic feeding back.

688. It stops when I talk on this mic, so…

689. - Can you turn? - Sure.

690. I'm going to have road hog instead of skylight, however pretty it may be.

691. I keep telling you not to, and you won't listen to what I say.

692. - You're right. - I know.

693. What is it?

694. A fragile Leslie.

695. I con a Lowrey, but it didn't sing well.

696. - Yeah.

697. There wasn't— So I changed it to Paul's "dog a boney."

698. "Cadge a Leslie," you had as well.

699. Yeah, "cadge a Leslie," that.

700. It's gotta be Ds and Bs, you know?

701. - Are they ready to take any yet?

702. Glyn can hear us. Can't you, Glyn?

703. In fact, he's coming out.

704. Yes, Glyn?

705. There's lots missing yet. This afternoon, late—

706. 'Cause it's got to the point where we don't know what anything's like there.

707. In fact…

708. - Oh, no, you're not! - Oh, yes, I am!

709. "The awful tension of being locked in each other's arms

710. snapped last night at a TV rehearsal.

711. And Beatles John, George, Paul and Harold, at very least…

712. a few vicious phrases took place.

713. He, the mystical one who lost so much of The Beatles' magic.

714. She, the nudie.

715. It's only the suddenness of their decline from the status of 'boys next door'

716. to the category of 'weirdies' that has left most people agog."

717. I heard he just played that.

718. "It would be about the middle of 1960

719. that the personal luster of The Beatles

720. began to show a few spots of rust.

721. I will deliberately leave Ringo out of it,

722. because he has never developed an inclination

723. towards the bizarre.

724. Lennon was married, happily.

725. McCartney was going steady, and George Harrison was about to marry.

726. Everything in the Beatle garden was rosy.

727. But that was a long time ago.

728. They went their own private ways, found their own friends

729. and became less reliant on each other for guidance and comradeship."

730. - "Where did it all lead to?"

731. "I suppose it is fair to say that it led pretty close to disaster

732. at one time or another.

733. Today all of them find acute embarrassment

734. at the stories of one another's

735. odd-ball adventures and conduct.

736. Harrison's escapades with his favorite mystic from India

737. - left Paul and Ringo aghast…"

738. - "…and both felt obliged to try him out

739. to see if they were missing anything."

740. "Drugs, divorce and a slipping image

741. played desperately on their minds and it appeared to them all

742. that the public was being encouraged

743. to hate them."

744. "But that still doesn't amount to a complete break-up of the group.

745. Whatever talent they have as individuals,

746. and who can deny it,

747. their capacity to earn is largely tied up

748. in their performances as a group."

749. "They will never be exactly the same again."

750. - Okay. - Okay.

751. - Okay then. - Are you ready, George?

752. Here we go, Glyn.

753. Coming, ready or not.

754. - Glyn. - You're on.

755. - Okay, boys and girls. - Okay.

756. "All I Want Is You."

757. Take one.

758. And now, your hosts for this evening, The Bottles.

759. Gonna hear that.

760. - What, where? - There.

761. - Go in there? - In there.

762. Sure. Why not?

763. - No, no, don't… - Oh, no, no, no, John.

764. Please don't put the mockers on it.

765. That sounds very nice, really.

766. I'm really pleased with the sound.

767. I thought, "Well, fuck me. If they don't like that, what do they want?"

768. It's just like we sound.

769. And now, our hosts for this evening, The Bony Rolls.

770. "I Dig A Pygmy" by Charles Hawtrey and the Deaf-Aids!

771. Phase one, in which Doris gets her oats.

772. Ringo!

773. Richie!

774. Scab head! Come in!

775. One more.

776. Glyn would like us to do it one more time.

777. Shall we oblige him?

778. Okay.

779. I think we could still take it a little quieter.

780. I think I agree.

781. And when I go, "Oh," I want you to go, "Oh."

782. Got it!

783. After we got to "a wind love," I went berserk.

784. Like the wind, he blew away.

785. - His thoughts scattered… - I blew a windstorm.

786. …tumbling like a paper cup.

787. "Blew a road hog." That's better.

788. Blew a road hog.

789. Slither wildly like a blind dog.

790. As it creeps away across my underpants.

791. - I'm a lyricist in my own right. - He is, you know.

792. Yes, Richard Rodgers has got nothing on this boy.

793. That tongue will be the death of you!

794. "I feel a wind love"?

795. Yeah, I've changed it to "wind love" now.

796. - I just make it up as I go along. - Oh, is that how you do it?

797. See, I want it so that it goes…

798. The bass is going that bit.

799. Try doing it so you're almost playing four in a bar. So you go…

800. …on those bits.

801. Well, that's the beginning of the verses, isn't it?

802. Yeah.

803. That's what I'm doing now.

804. This one isn't going…

805. high or heavy. You can hear the…

806. There's none for that one. Only the bass is doing that.

807. We haven't got the double bass drum.

808. The other bass drum.

809. So what would that be, Paul? Would that be four in the bar?

810. - Are you using high hats? - Mmm.

811. - Don't know, maybe a…

812. If you did— Are you doing the big cymbal on that?

813. - That's the way I'm doing it. - Yeah.

814. What time are you working till?

815. - What time is it? - Seven o'clock.

816. That's time enough.

817. One, two, five, six!

818. Sounds all right in here, doesn't it?

819. Doesn't really make much difference.

820. Oh, yeah. But with everything being so close-mic'ed,

821. you don't notice it on the tapes much.

822. This is really good for strings or anything— You'd mic more distanced.

823. - Is it? - Know what I mean?

824. Imagine if we could have played like this at The Cavern.

825. It would've been great.

826. Eh, we were there, weren't we?

827. Got another toy.

828. See, would you have piano on it?

829. Yeah, but how do we do that?

830. 'Cause then it just leaves one guitar, doesn't it?

831. - We need somebody else. - Yeah.

832. Probably be like a guy that plays piano all the time.

833. That one that plays with The Stones.

834. - Or anybody. Yeah. - Nicky Hopkins.

835. Plop, plop, plop. Plop. Plop.

836. Don't let me down, baby!

837. "She Came In Through The Bathroom Window."

838. No idea.

839. A… "Diana" chords in A.

840. - I'm on piano for this one. - Yeah.

841. It's a great piano.

842. - It's the best one here. - Oh, yeah. But you had one.

843. - I know, but it wasn't like… - Your Fender.

844. Nicky Hopkins has just got one of these.

845. I've had one about two years at home, but it's not as good as this.

846. Must've been the prototype, you know? It's all buzzy like the old one.

847. Just like that.

848. On the chorus— Just need it to be a bit more solid.

849. So, like…

850. Sing on the top of it.

851. Yes, they're all like that. They're all like that.

852. It should be like three-part, and very close, very tight.

853. And with a sort of…

854. Just very, sort of— In the background, it should be…

855. Very plain.

856. We've got to start on all them other ones we've learned now.

857. - Yeah, little bits— - And start doing them.

858. Well, shall we do it tomorrow? The harmonies?

859. We must be able to have it so that we can play with an electric piano.

860. I mean, look, other groups play on stage with 'em.

861. I mean, I've seen people on telly playing them, you know?

862. That's what it is.

863. Come along.

864. - Oh, yeah. - Come on. Get home.

865. We're going with Ringo.

866. Goodbye, goodbye. See you tomorrow.

867. Okay. What time are you coming?

868. At 11:00 on the nose.

869. Or one o'clock.

870. But on the nose.

871. I had a good idea for the TV show.

872. The only way we ever did them…

873. - Harmony? You're right. - You're right, John.

874. Riffs on guitar, Paul. Harmony on piano.

875. I'd like to— What we did today, it was the same story.

876. - Same story. - Same story exactly.

877. - For the voices, you mean? - Yeah.

878. - Sure. - Yeah.

879. We gotta get those voices cleaned up.

880. Well, let's get 'em all into the riff stage.

881. 'Cause I do like the riff stage, you know?

882. Yeah.

883. - Okay, see you tomorrow. - Yes. Good night.

884. - Yeah. - At eleven o'clock.

885. Good night.

886. Bye.

887. Ta-ta. Good night.

888. "'So be it,' says George Harrison."

889. Is that Michael Housego?

890. - Have you seen that? - No.

891. In the Mail, there's a picture of you inside the next page.

892. And you said about France,

893. "'So be it,' says Beatle George Harrison,

894. who smashed, ruined the fellow's evening suit and his cameras, and"--

895. Had seven stitches in his knee.

896. "Harrison has already agreed to pay Bebert £425 compensation."

897. It's amazing the way it goes on without even

898. - anything to do with you. - Yeah.

899. It's like, as if you can just give 'em a plastic dummy of you

900. to, you know, to push around and play with.

901. Morning. Morning, everybody. Another bright day. Morning, camera.

902. And now, your host for this evening, The Rolling Stones.

903. Lovely warm air coming through here. It's great.

904. Neil thinks they'll want to print their own in America.

905. Yeah. Well, they will.

906. It's like— I don't like that thing

907. where it goes cheap when it goes to America

908. - and they do the reprint. - I know what you mean.

909. Because the album's gonna be called Postcard.

910. By Mary Hopkin.

911. So we're just getting Valentine's, the people who make postcards,

912. to put one of them on the cover of the LP.

913. - There's no, sort of, sleeve notes— - And a picture of her.

914. Yeah. And just a few pictures of her in it all.

915. - Postcard? - Yes.

916. - Next of Hopkin.

917. - Does this work? - Yeah.

918. Goodness me.

919. - Should be a good day.

920. Bring your tambourine next time you come.

921. All right.

922. - Is that old toast that you had… - Yeah.

923. - They're bringing some more. - With a bit of marmalade, Kev?

924. John, could you give us an E?

925. - Yes.

926. Wow, that's great.

927. Michael, do you want this?

928. - Those walls? - Yeah.

929. - We don't have to have them anymore. - They're reflecting it all back on us.

930. - The heat? - Yeah.

931. - You're so right. - Oh, Paul, I—

932. I know you've probably lived in a glass house.

933. Paul, what I'd like to do now

934. is go and talk to Neil about seeing if Primrose Hill is free.

935. Can I do that?

936. It would be nice almost not to tell 'em.

937. That's why I wanted to do it in Africa.

938. You just start playing, and one by one they come, one by one, ten by ten…

939. Well, to me that's okay. Primrose Hill. And I dig it.

940. So, but just roughly, timewise, you'd say in about a week?

941. Yeah.

942. Mal, could you buy some cooling fans? Just loose ones.

943. - The engineer's coming over. - We need the blowers.

944. Oh, yeah.

945. See, we're never gonna be the same two days running, you know?

946. - It's impossible to remember. - Sure.

947. The amp— The amp, I'm not bothered about at all.

948. It's just the bass itself.

949. Did you see Fleetwood Mac on Late Night Live?

950. - They were so sweet, man. - Were they?

951. And the lead singer's great. You know, looks great.

952. And he just, sort of, sings very quiet as well.

953. He's not a shouter.

954. - And they were just like…

955. Yeah, but better than Canned Heat.

956. Yeah, they're really good though.

957. It's just that sweeter, just the guitar hanging.

958. That's like the Canned Heat one. I love that one.

959. Okay, Glynis.

960. - Shall we do it? - Okay.

961. Okay. Let's try it now.

962. Give up Canned Heat. We're The Beatles now.

963. - Do it like The Beatles. - Running.

964. - It certainly— - We improve with time.

965. You're not talking to Ricky and the Red Streaks, you know?

966. Like a fine wine, really.

967. Ooh, it's a strain of a song.

968. It's such a heavy one to go through all these times.

969. Yeah. There's no time for a breath.

970. I'm trying it all different ways.

971. Okay, let's change the format.

972. - Let's run through "I've Got a Feeling." - Okay.

973. We go to D.

974. I just had a harmony. It just came, just like…

975. - John?

976. More.

977. Let me tell you about the feeling I've got.

978. Bit more.

979. See, it's not as good, man, as when it was bassy.

980. What's the matter with you?

981. - I can't hear you. - Be bassy.

982. - What? - Be bassy!

983. You know, 'cause I get a drone going without being loud, you know?

984. Right.

985. - Ringo? - Yeah? What?

986. Is there a damper on your floor tom-tom?

987. - A damper? - Yeah.

988. No.

989. The only damper around here is you, Glyn Johns!

990. - You want one? - Yeah.

991. - It should do that.

992. At the eight.

993. Yes! Yes!

994. - Yeah, okay. - Okay.

995. Let's take the song and hear it.

996. Sing, Paul!

997. - I have a dream… - I had a dream this afternoon.

998. Yeah, I had a dream.

999. I had a dream this afternoon.

1000. - Yeah, I had a dream. - Great, wasn't it?

1001. When all people…

1002. shall be united.

1003. - No. - Fantastic.

1004. I had a dream this afternoon, children.

1005. I dreamed the Black and the white kids are gonna be together.

1006. Walk together, hand in hand.

1007. Like a big poem, it was.

1008. - Yeah. - Just like a poet.

1009. - And his voice— - Just like Tennyson on that whole thing.

1010. "I had a dream this afternoon."

1011. Have we taped any of these that we can hear back, Glynis?

1012. - Did you tape the last one? - Yes.

1013. I'd just like to say…

1014. - It's all right, this studio. - It's gonna be a good studio.

1015. - What's this? - It's only the decorators…

1016. I'm gonna say, "I Wanna Hold Your Hand. Disk 1932."

1017. If you can get 'em off Mimi's wall.

1018. - It just doesn't happen.

1019. - I mean, he's not going… - Yeah.

1020. To the end one.

1021. I think maybe you could do…

1022. Yeah, well, now we've got— You can alternate through 'em.

1023. Alternate everything now.

1024. You know, uh, really fill it out a bit.

1025. And on the "all I need, all I want, everything has got to be," he can go…

1026. - That one. - It's like where we are now.

1027. We normally record it, put it down like that, just get that sort of a bit okay.

1028. Then do all the voices,

1029. - then finish it off. - Then start laying on…

1030. And then make it into a record.

1031. And then you think, "Yeah, we should have played it a bit more like that."

1032. - Yes. - And it's like that really.

1033. - It's just trying to jump ahead. - Yeah.

1034. Yeah. I think this will do, might do it.

1035. I've just gotta be sort of different on the rhythm.

1036. It's gotta be either one thing— It's neither one thing nor the other now.

1037. And there's something we need for the…

1038. How you doing? How are you? How you doing, baby?

1039. - Good to see you. Hi. - Hi. Good to see you.

1040. He was this big last time.

1041. - Hello. - How you doing, Ringo? Good to see you.

1042. - You too. - Yeah.

1043. Out of sight, man.

1044. Every number's got a piano part, or a—

1045. And normally we overdub it.

1046. But this time we wanna do it live.

1047. Yeah. That'd be nice.

1048. - I mean, just live to ourselves… - Yeah.

1049. …straight off, one number after the other.

1050. And that means having somebody in on it.

1051. - If you'd like to do that you're welcome. - Sure. Beautiful.

1052. - Right. And then you'd be on the album. - You're kidding.

1053. Well, that's good then.

1054. We've taped a few. The thing is to get some tapes made of what we've done,

1055. and let him have a listen, take 'em home at night.

1056. He'll probably pick them up much quicker hearing us play 'em.

1057. Yeah, just rehearsing them.

1058. - Have you met Billy, George? - How do you do, Billy?

1059. That's George Martin, our A&R man. That's Billy.

1060. We played with him in Hamburg. He was backing Little Richard.

1061. - Did you… - In Hamburg.

1062. Yes.

1063. In the old days.

1064. The piano behind here.

1065. Who's controlling the PA?

1066. - Hello? - And this one isn't on.

1067. - Is that one on? - One isn't on, Glyn.

1068. You got all them chords?

1069. And now, your hosts for this evening, The Rolling Stones.

1070. Yes, you have.

1071. On your what?

1072. - All right. - Yes.

1073. Electric piano has such a great sound.

1074. It's only— Is there a speaker facing you as well?

1075. Yeah, I'm getting it played back.

1076. Okay.

1077. Do a nice, big…

1078. …for me, you know, to give me the courage to come screaming in.

1079. Okay.

1080. It's great!

1081. - You're giving us a lift, Bill! - All right.

1082. We've been doing this for days, you know.

1083. Weeks.

1084. - Just choking. - Years.

1085. My voice is choking.

1086. I just wish I had yesterday's voice but today's backing.

1087. I was swinging yesterday.

1088. Voice-wise, that is. I've just gone over the top.

1089. Some tea and sandwiches came.

1090. - Yeah. - Sandwiches?

1091. All right, Glynis. We're off again.

1092. Take it, Billy!

1093. Can you dig it?

1094. I had a dream this afternoon.

1095. Don't let me down.

1096. Well, ladies and gentlemen, we'd like to change up the tempo a little.

1097. Okay. Let's do the next song then.

1098. - You right? I'm doing my intro. - Sorry.

1099. Do you mind?

1100. I'm getting a bit dafter with every song. This…

1101. - Come on, son. Now try your hardest. - It's getting… Look at them.

1102. I don't—

1103. - Was he taping them? - Yeah.

1104. We'll do "Dig a Pony" straight into "I've Got A Fever."

1105. Piss on your boots.

1106. No, keep 'em.

1107. I mean, what, was something wrong with 'em?

1108. There's nothing to keep.

1109. They've improved on this morning, haven't they?

1110. Haven't you got three now?

1111. You're talking about—

1112. Do you have "Don't Let Me Down" as well? The three.

1113. Yeah, you got the last three with two takes of "I've Got A Feeling."

1114. Oh, yeah.

1115. We want to hear what we've done to 'em. The waltzes and bits. So keep 'em.

1116. - What, have you got no more tape? - Yeah.

1117. Well, we don't need to record any more, so keep 'em.

1118. Can we hear "Don't Let Me Down"? I wanna hear that.

1119. You heard the drums are on two tracks. So, like, when he goes…

1120. …it goes right across the room.

1121. Sweet, man.

1122. You know, when he asked for four speakers, the EMI guy said,

1123. "What do you want four for? You've only got two ears."

1124. - Can you play violin? - No.

1125. - 2-9-0.

1126. - What time is it? - Five past 6:00.

1127. - Thank you. - We work to the clock.

1128. It's good all his fills on the…

1129. - I had a word with Neil. - Yeah.

1130. What he indicates is that we'll do something early next week.

1131. And it'll be great. Soon as we got them off…

1132. If it's good enough, yeah.

1133. When you record, you know, you settle on something,

1134. and you say, "Okay, that's how it's gonna be for now."

1135. But when you're on the road, say, doing it all the time, it slowly changes.

1136. So, I mean, that means we may go on rehearsing forever.

1137. Yeah.

1138. - Oh, yes.

1139. The thing is that, um…

1140. I think— Weren't we doing something on Friday night?

1141. Friday night, yes.

1142. Monday night.

1143. - The lights are working.

1144. You missed it!

1145. Yeah, I felt it as I left the second floor.

1146. It was great.

1147. Yoko, John and Paul and Billy were doing their freak-out.

1148. - The Beatles, yeah. - No, no.

1149. Yes, go on.

1150. - Billy, Yoko, John and Paul.

1151. - Is it all on film? - Yeah.

1152. What a great bit of film!

1153. - The whole place was zooming. - It was. It was beautiful.

1154. I'd like it to be part of her new LP.

1155. - Glyn! - Or our new LP.

1156. I think you're nuts, the pair of you.

1157. Well, the current thought

1158. is that we'll try to do it at the end of next week, maybe.

1159. You know, if we did ten days straight from now…

1160. Well, you're working so well together now.

1161. - Yes. - Let's keep it going.

1162. - Well, you know, I won't say no. - Mightn't be able to speak.

1163. You know, I'd rather work the weekend

1164. than make it last out an extra week or so.

1165. I think the thing is we'll aim for Thursday,

1166. 'cause if we don't make Thursday, just as a…

1167. Then we won't get outside, will we?

1168. Michael was talking in terms of next Thursday.

1169. Yes.

1170. - And working over the weekend.

1171. So, it's gonna be stupid.

1172. Yeah, let's work Saturday, but not Sunday. Just to have one day.

1173. - 'Cause it does help next week… - Oh, yeah.

1174. …if you get one day.

1175. I'm so tired though. It's amazing.

1176. Could we have some more tea, Mal, like a pot, you know?

1177. Yeah, like rockers!

1178. Way back in the '50s.

1179. 'Course, you probably don't remember the '50s.

1180. When the great names were around.

1181. Eddie Cochran, Gene Burke.

1182. - George Hemingway, Frida Starr. - Foster Dulles.

1183. Mal?

1184. Can you send somebody to buy me a— You know those lace bow ties?

1185. - Like a cowboy? - A black one.

1186. - A cowboy one? - A string tie?

1187. Yeah, but they get 'em. They just clip on under your collar.

1188. So what should we do that's fun?

1189. Besides work?

1190. - Are we doing that one? - Yeah.

1191. - "Across the Universe"? - No, no. 'Cause it's going out on an EP.

1192. There's always Mal's instrument.

1193. It's just a reminder to remind you about "Maxwell's Silver Hammer" all the time.

1194. I'd like to do a song today that I don't have to sing so much,

1195. - 'cause it's really stupid, that. - Yes.

1196. - Did you know that? - It's very interesting.

1197. With the Twin Reverb amp, Paul, I find myself satisfied completely.

1198. And now your hosts for this evening, The Rolling Stones.

1199. Whoo!

1200. Yeah.

1201. How many verses are there?

1202. Well, see— see, it started off as a protest song—

1203. But, you know…

1204. I think it works okay with just the two verses

1205. about sweet Loretta Martin, the first verse…

1206. - Just have two for now. - Yeah.

1207. But, I mean— I don't mean really how many verses—

1208. - Okay, I'll sing it through. - How many times will you do a verse?

1209. I'll sing it through and shout where I think it should go,

1210. and then if you don't agree, remember it and we'll change it.

1211. Well, maybe if we had an intro, a verse, a chorus,

1212. of "Get Back," and then there's a bit with—

1213. Solo. Yes, solo. Get back, Jo.

1214. Then there's a bit of chorus on the end of that solo though.

1215. Yeah. And then the doo-dah-dum. Then the next verse,

1216. the next chorus, the next solo, the next chorus.

1217. Well, let's have one guitar solo and one piano solo then.

1218. Okay.

1219. 'Cause I'm only gonna be able to work one out.

1220. Who do you wanna be, Jo Jo or Loretta?

1221. Get back to sweet Loretta.

1222. He's waiting for you.

1223. This old drag queen back on the ranch.

1224. Tucson.

1225. Wearing his high-heeled shoes.

1226. Get back, Jo Jo.

1227. - One, two, three. - Two.

1228. Sorry. One, two, three, four.

1229. It's like on "Reach Out." Do you remember?

1230. You know, "Reach Out," where everything stops, and you just have…

1231. - That beat going da, da, da, da. - Whoo-hoo!

1232. Get back, Jo Jo!

1233. So you do the beginning, then my solo, then you and me singing,

1234. and then he comes in, does his break and a solo,

1235. then you sing a verse, and one last, long "Get back" and out.

1236. - A match, Ring… - Okay. So…

1237. But that break…

1238. It's almost natural, like, rock and roll, except for the break.

1239. It's just a break before—

1240. See, that's it. If we make too much of a break,

1241. we start getting it into, like, an arranged song.

1242. Yeah, it just should go…

1243. It's better just to have, like, a rock and roll song.

1244. But, I mean, they did have breaks in the old days.

1245. That's what I mean, yeah.

1246. Okay. Well, for now I'll vamp.

1247. The arrangement is only enough to know.

1248. One, two, three, four.

1249. - It just, like, resolves the thing. - Yeah.

1250. I do like—

1251. It'd be nice, for the bit going into the solo,

1252. the last verse before the solo,

1253. if we stop that thing we're doing and maybe you just keep doing that.

1254. - Yeah. - You do— And Ringo and I. Just that…

1255. Go ahead. Do it.

1256. Just sing a verse…

1257. Yeah, great.

1258. - About there we should have the thing. - Yeah.

1259. - Like, before we go into the second verse. - Are we having two solos?

1260. Yeah, see, we should just have a real formula, you know?

1261. Just like a beginning. Da, da, da.

1262. - Beginning, verse, chorus, solo. - Into the verse then the chorus.

1263. Da— "Back." Da— "Back to where you once belonged."

1264. "Get back." Dum.

1265. Then the low one.

1266. "Get back. Get back. Back to where you once belonged.

1267. Get back. Back to where you once belonged."

1268. So then it's like it's more in the register we're in.

1269. Why don't we have—

1270. Weren't we gonna have, like, a verse, chorus, then solo,

1271. - then verse, chorus, and then the solo? - Yeah. Well, see—

1272. We are trying to just get a break, weren't we, after the solo?

1273. - Yeah. - We're trying to get a break to separate.

1274. Yeah, but we've got, like, a bit of a break and another solo now.

1275. - So there's gonna be three solos? - No, two?

1276. - 'Cause it would be nice just to— - Three?

1277. Like the bit we were starting to have.

1278. I like solos.

1279. So do I, but I've only got one.

1280. - The bit that we were— - I was thinking of you doing two.

1281. And Billy doing one in the middle of it.

1282. You doing the both, "Get back Jo Jo."

1283. Just do the same one twice?

1284. - Oh, yeah, you could. - Do that and rock and roll a bit.

1285. - Okay, so… - Okay.

1286. So, I'm— I'm lost now. Do you want to start writing it down?

1287. Just write it down. Verse, solo, verse.

1288. What did I do? Uh…

1289. The trouble is, you're on a harmony, then you go to the melody.

1290. - Yes. - So, you should really go…

1291. If you could give us that chord that we…

1292. Yeah.

1293. At the end of John's solo, so it goes…

1294. At the end of his solo.

1295. There.

1296. So I'll pick it up off you then.

1297. So, I'll just keep doing it, and I'll join in when I can.

1298. But presume that's the verse where I come in.

1299. End the solo not in a flurry.

1300. 'Cause then, you know,

1301. "I gotta get all my notes in before the end of the solo,"

1302. but don't, you know, just end it just…

1303. Well, I have to work it out.

1304. - Or even don't go right to the end.

1305. - No, just do—

1306. - Yeah. - I can do it if I go…

1307. You were well in time. That's the thing.

1308. - Oh, was I? - Yeah. Oh, plenty—

1309. - You got hours if you finish there. - I see.

1310. In fact, we'd have to fill that a bit.

1311. - It's just that singing one throws me. - We're going to scrub out.

1312. - Okay. - I'll give you a shout.

1313. I wish I could just not have to sing that bit.

1314. No, you've got to sing.

1315. - Okay. - Don't worry about it.

1316. It's just nice to be a guitarist for a change…

1317. - Yeah, I know. - …and not think about vocals.

1318. Well, you're a guitarist until there, that one little line.

1319. No, on the bit— "Belonged."

1320. Maybe for the "get back" bits, we should do it twice,

1321. - the going to A. - I'm sorry! I'm sorry!

1322. I thought I was playing the tune.

1323. I'm getting a bit confused

1324. - with all the little bits now. - Yeah.

1325. - Shit. - "Shit Back."

1326. - "Shit," take one. - Thank you.

1327. "Get Back."

1328. I don't feel as bad as yesterday.

1329. - It was really throbbing. - I'm really tired today.

1330. Yesterday was the worst for me.

1331. - Just aching. - Just that screaming all day.

1332. - Poor John. - Yes, it's so terrible.

1333. - Paul? - Yes, Glyn?

1334. - No, no, no. - What?

1335. I like this one. It's lighter.

1336. - Okay. - Are you sure you're gonna do that?

1337. - One, two, three, four. - So the answer's no.

1338. Okay, now, one time. A bit cooler this time.

1339. - One, two… - Take?

1340. - Yes. - Yeah.

1341. - Here we go. - Just a sec.

1342. - A second, you mean? - One sec.

1343. It doesn't matter for the last one, 'cause I don't have to come in singing.

1344. - Yeah, but there's still… - You know, I can go—

1345. Yeah, but it means that you're going on to D when we're still on A.

1346. That's all right.

1347. It's only the one when I've gotta come in singing.

1348. No, well, I thought you'd do two solos twice, don't you?

1349. - What? - Slightly varied second time.

1350. Oh, second time. Yes. I rather…

1351. Now I remember why I stopped getting solos.

1352. 'Cause this would happen all the time.

1353. Just…

1354. Oh, yeah!

1355. A one, two.

1356. A one, two.

1357. In Sweden, yeah.

1358. - And we just went, "One, two!"

1359. Then he'd just go…

1360. - I keep missing that D bit. - Okay. Yeah.

1361. - I'll shout when it's the end. - Three, four.

1362. Let's build up.

1363. - Yeah. - Two, three, four…

1364. Are you?

1365. Are you really?

1366. We're gonna do it through one more time, and it's just gonna be the greatest ever.

1367. - We should have, like…

1368. …when you take your solo, you stand up, and, uh…

1369. - Okay. - Yeah?

1370. You've convinced me.

1371. - The boys are ready for action.

1372. The boys is ready.

1373. - I can't play standing up. - I can't either.

1374. - I can't.

1375. Hello.

1376. No, you gotta…

1377. - Yeah. - Okay, Barney.

1378. One, two.

1379. One, two, three, four.

1380. Go on, Al.

1381. What? You what?

1382. I just said, "Go on, Al." That's all.

1383. Don't interrupt stars when they're recording.

1384. - Hey. Hey. - We're bloody stars, you know?

1385. Look, fuckface.

1386. - Don't comment. - Fucking cheek.

1387. Well, thank you very much.

1388. Whoo!

1389. - We'll have to do it sitting down… - Oh, yeah.

1390. - …or we get too excited.

1391. It'd be nice to just put it out as a single.

1392. - Yeah. - Just do a single of it now.

1393. - Okay. - Let's knock it off for a single maybe.

1394. - Let's finish it off— - Just make it now

1395. and have it as a single, put it out next week.

1396. - Oh, yeah? - It's easy.

1397. Just take it in there, cut it in the master.

1398. You have the master back tomorrow.

1399. Master.

1400. - I'm easy, lads.

1401. Yeah.

1402. It's great. Remember how we used to have it?

1403. One record would be coming out, and we'd put another one out.

1404. - Like in the old hustling days. - Yeah.

1405. - It'd be great. "Get back" in time.

1406. Well, I'm going home now. Knocking off.

1407. - All right, Paul. Right. - Put this on.

1408. - Okay. - I'm coming in tomorrow.

1409. Let's do some instrumentals, you know, to do the—

1410. you know, for the album, like.

1411. Hey, you look like a Victorian miner now, you know?

1412. - It's true.

1413. - Aye? - A DH Lawrence.

1414. All right, well, I can't afford to mess around here, you know?

1415. - Did you hear about the book idea? - Yeah.

1416. They're great, man. Really great.

1417. It'll be a book of the film.

1418. They can have it out almost simultaneously.

1419. The book of the film, the book of the— All that.

1420. - The package is great. - It's good.

1421. They'll have slides, you know.

1422. And I'll talk to John Kosh on Monday.

1423. 'Cause I think he'd be a nice guy to design it.

1424. Will you have any new ones today?

1425. I'm trying without the marmalade today, you know?

1426. - Very good. - Ah.

1427. You see what happens?

1428. They're gonna concentrate on our legs and toast today.

1429. It'll be great. "Get Back" will be coming out.

1430. Are we gonna do a single?

1431. I don't know, you know? I'm just sort of still rehearsing.

1432. - Yeah. - And if we hit one, great.

1433. The thing is,

1434. this is the first song we've really sort of got into that we dig.

1435. But there's a…

1436. I dig "Don't Let Me Down" and "I Dig A Pony,"

1437. personally speaking.

1438. Well, yeah. I mean…

1439. I still haven't done "Don't Let Me Down" satisfactorily for myself yet.

1440. Oh, yeah? Well, we're all great on it,

1441. so just get yourself together, will you?

1442. Did you tell Paul we've got Billy a contract?

1443. - No, not yet. - We've got him off Capitol.

1444. Just like that.

1445. And George will produce him.

1446. I was just talking to him about that.

1447. And he sort of had a couple groups together.

1448. - But he's never, sort of, done his thing. - Yes.

1449. The main thing, Billy just really is so knocked out,

1450. so thrilled doing it.

1451. And also he sees it's his great opportunity.

1452. Yeah, and produce him.

1453. Then he puts his name and The Beatles. Like, it's Billy Preston!

1454. I didn't think about it.

1455. 'Cause, if we were having Nicky Hopkins playing,

1456. we'd have to pay him session musician rates.

1457. - Yeah. - Which will be—

1458. This is, like, to be in the film and that.

1459. Yeah, we'll just say to Ron, "Look, will you talk to Billy?"

1460. On the film it happened so great.

1461. We can do that, as well.

1462. If I asked Dylan to join The Beatles, and he would, as well, you know,

1463. and we get 'em all in here!

1464. Yeah, but they don't need to join The Beatles.

1465. We'd call it The Beatles & Co. That'll be our band.

1466. I mean, it's Sergeant Pepper's Lonely Hearts Club Band, innit?

1467. - Yeah. - We could get 'em all.

1468. I just don't, because it's just bad enough with four.

1469. - Okay. - Mal, can we have—

1470. We haven't got the PA. Do they know that?

1471. - PA is not on. - Hello…

1472. Okay. What should we do, Paul?

1473. Do you have anything more that you're writing?

1474. You're writing all the time, aren't you, John?

1475. Sure I am.

1476. I'd do "On The Road To Marrakesh," which is a sweet number, baby.

1477. - Sweet number? - Sweet number.

1478. I was gonna do a big '30s orchestra bit.

1479. - Forget where we end.

1480. - Paul? - Yes?

1481. What's the possibility of you using another bass?

1482. You wanna try the bass on its own?

1483. Oh, yeah.

1484. Uh-huh.

1485. The only trouble is the strings slip off this, 'cause it's left-handed,

1486. and the nut is for right-handed, you know?

1487. - So, you know, I'm not as keen on it. - Well, I'll try that.

1488. - So I'll get that fixed. - Proper drag, yeah.

1489. Yeah, but I will get it fixed.

1490. I'd like to hear more bass still.

1491. See, I just don't know what these knobs do, actually.

1492. We seem to be at a loss without Billy.

1493. What should we do?

1494. Just ones we don't know.

1495. - Yes.

1496. Let's try to get "Two Of Us."

1497. - Okay. Am I still singing it? - Yeah.

1498. Yeah? Okay.

1499. Now, what kind of thing was it?

1500. I don't know, it's just— We're all very stiff, like…

1501. Yes.

1502. When I heard Stevie Wonder…

1503. I don't know what his backing would be, but then you'd sing it looser.

1504. But I can't…

1505. Maybe it's just soft.

1506. You know what I mean?

1507. Mal, have you got my acoustic?

1508. Martin?

1509. And a packet of ciggys, Mal.

1510. And a packet of ciggys, Mal.

1511. See, I'd like not to be playing bass on these ones, 'cause it's just silly.

1512. It's silly, 'cause I wrote it on my own guitar, you know?

1513. And it's just…

1514. A bit like "Peggy Sue."

1515. Well, I can't play bass and sing, you see?

1516. Let's all stay on guitar until we have to have bass.

1517. And then I'll get back on it.

1518. Bass is, uh…

1519. It's a bit of a drag, bass, isn't it?

1520. Bass is a drag when there's no bass.

1521. But, you know, uh…

1522. That's it. Play.

1523. See, I quite like those ones where there isn't bass.

1524. I've never heard one.

1525. - We've done a few. - What?

1526. "I'll Follow The Sun." They've all tended to be that kind.

1527. But they're nice.

1528. They lose a big bottom.

1529. But they gain a… slim, lithe look.

1530. Okay.

1531. - Whoo! - Yeah!

1532. Yeah! I like that.

1533. "I'm a cheat."

1534. Because, I mean, if we'd recorded it then tried to do it onstage,

1535. we'd have to modify it, like we always did, you know?

1536. What do you want for lunch?

1537. Take one.

1538. - Yeah, what's your order? - And just some steak.

1539. Sparrow on toast.

1540. Boiled testicle.

1541. - Uh, Mal? - Yes?

1542. So I'll just— We'll have whatever the vegetables are.

1543. If they've got any cheese sauce for the cauliflower…

1544. - Let's have a mushroom omelet then. - Cauliflower.

1545. Don't do it, Richie. Don't do it.

1546. He used to eat chips.

1547. It's like after "Get Back,"

1548. - "We're on our way home." - Yeah.

1549. So there's a story.

1550. And there's another one, "Don't Let Me Down."

1551. - Yeah. It's like you and me are lovers. - Yeah.

1552. We shall have to camp it up for those two.

1553. Thanks, Mal.

1554. Oh, isn't that pretty?

1555. Didn't have a black one?

1556. I'd like one like the purple one in black.

1557. Yeah.

1558. It's lovely.

1559. - Purple dicky bow. - It's very nice.

1560. - Yeah. - Okay.

1561. "Funky Pudding," take one.

1562. - Are you on? - Okay.

1563. - Well, it's part of the pudding.

1564. Oh, yeah.

1565. Shall we hear it?

1566. - Come on, let's hear it. - Track it. Put the violins on. Let's go.

1567. Just release it.

1568. Release it in Italy only.

1569. Let's just make a different single for every country.

1570. Phyllis Lindsay-Hogg.

1571. Instead of Mal picking us up,

1572. on one day, should be all from each of our houses for this.

1573. You should get, each day, one of us coming straight from home,

1574. even right into the bedroom, you know. Let's make it…

1575. Yeah.

1576. Well, we are rather uncouth.

1577. We're not your elite, you know.

1578. What is it?

1579. Mal, what about the Hawaiian?

1580. No, it's not like that.

1581. I might have a little stand, you know.

1582. See, one goes into the amplifier,

1583. the other goes to the foot pedal.

1584. A lead from the guitar to a foot pedal to the amp.

1585. - Take it to Alex, and he- - Get some fucking wires, man.

1586. That's the cheapest one, actually.

1587. But if he gets any good on it we'll give him a good one.

1588. Take it, Maggie!

1589. Yeah!

1590. Yeah.

1591. - You know… - What?

1592. No one's asked you if you mind coming every day.

1593. I just thought you never know.

1594. Like, coming along every day and saying, "When am I getting paid?"

1595. That was "Can You Dig It?" by Georgie Wood.

1596. And now we'd like to do "Hark, the Angels Come."

1597. - How long you had the camera? - Nearly six months.

1598. They're fantastic, those things.

1599. What do you do? You put it on a replay, which is plugged…

1600. - Magnetic tape? - Yeah, it's a videotape.

1601. I feel like a drink. Shall we go to a nearby pub?

1602. - There is a boozer. - There is? Lead me to it.

1603. Fine, thank you, George.

1604. It's all right. I'll sit on this.

1605. Been to India, have you?

1606. - Oh, yeah. I've been there. - I looked at mine last night,

1607. next to me Pepper suit.

1608. Me too.

1609. - I saw the film last night. - What?

1610. Of us at the Maharishi's. I've got all the film of it.

1611. The opening is great. It's just incredible.

1612. It opens with Cyn…

1613. and Pattie,

1614. Jane.

1615. You know. And it goes through all sorts of changes and stuff.

1616. It's all the people who were there.

1617. Jeffrey. Uh, the little American girl.

1618. You know, it's all of them.

1619. And they're just all the same shot and against the sky.

1620. And it changes to someone else.

1621. And it's a great opening. It's like, "The cast for this evening is…" And then—

1622. But then it goes—

1623. Then there's a big, sort of, white flare out thing,

1624. 'cause it's change of reel.

1625. It's great, that. It really works.

1626. Then the soundtrack should start with a…

1627. Uh…

1628. Yeah, it is like that, because Mike Love comes on,

1629. and he's— you know, and he's—

1630. And then he's just sitting with Cyn and Jane, waving.

1631. Mike Love and Cyn.

1632. And you just sort of see us, what we're doing. It's unbelievable.

1633. What were we doing?

1634. - Yes, what were we doing? - We, uh…

1635. I don't really know, you know?

1636. But it's like we totally, sort of, put our own personalities under,

1637. for the sake of it.

1638. And you can really see, you know, we're all—

1639. Who's writing all them songs?

1640. - That was probably when we did— - In your room.

1641. Yeah. Right.

1642. I remember, yeah.

1643. But just sort of— There's a—

1644. No, no. Oh, no.

1645. I just think, what we did there, we weren't really very truthful there.

1646. You know, things like sneaking behind his back and sort of saying,

1647. "It's a bit like school, isn't it?"

1648. But you can see on the film that it is very like school.

1649. You want to call it What We Did On Our Holidays?

1650. But it is very like that.

1651. There's a long shot of you, sort of, walking with him.

1652. And it's just not you, you know?

1653. It's just— Yeah. Yeah.

1654. - It's got a great opening. - Yeah.

1655. Incredible.

1656. I've got a couple of reels if you want some more.

1657. The helicopter one, up in the sky.

1658. I noticed you taking it, so I thought, "I'll get that."

1659. Well, that was the idea. 'Cause you said you were making a film.

1660. I want "By John Lennon Productions" written on those two reels.

1661. But each of my reels have got "By John Lennon" all through 'em,

1662. - like subtitles. - Yeah.

1663. "John Lennon's reel."

1664. "Shot by…"

1665. And if I remember I'll bring 'em in.

1666. And Linda remembered that thing you said the other night

1667. about when you went up in the helicopter with him.

1668. You just thought he might slip you the answer.

1669. Tell me, Old Master.

1670. I wouldn't mind having—

1671. Wouldn't mind having his money.

1672. I wouldn't mind having…

1673. two months out of every four months…

1674. in a place like that though.

1675. Linda was saying, sitting up on his roof

1676. and looking at that view, didn't you ever really feel like going out in it?

1677. - Well, we were out in it, weren't we?

1678. Yeah, but I mean the bit in the villages and stuff.

1679. The bit that everyone else, 95% of them, were doing around there,

1680. except for the converts on the hill.

1681. You know?

1682. It's incredible stuff.

1683. Uh. And then, uh, then the next scene burns out white again.

1684. And the next scene is just this monkey,

1685. just comes up and humps this other monkey.

1686. And then they just jump off.

1687. Then they just start picking each other.

1688. It's great stuff.

1689. And then there's a great one of you.

1690. It's like you come up and wander onto the roof,

1691. and you walk up, and you look like a student of philosophy

1692. with your tape recorder.

1693. And then…

1694. - Yeah, I've got all the soundtracks too.

1695. It's that thing, we probably should have sort of just…

1696. - Been ourselves. - Yeah, a lot more. Yeah.

1697. That is the biggest joke, to be yourselves.

1698. 'Cause that was the purpose of going there,

1699. to try and find who yourself really is.

1700. Yes. We found out, didn't we?

1701. And if you were really yourself, you wouldn't be any of who we are now.

1702. No, he's doing a TV show.

1703. - All day? - Yeah.

1704. Okay. Four of us on our way home.

1705. Right.

1706. Take it slowly.

1707. Oh, yeah.

1708. You just— You're underneath it.

1709. It's funny.

1710. That's mine.

1711. Just keep it down for that bit.

1712. You're doing well.

1713. Oh, yes, now.

1714. Yes, boy.

1715. We are, yes.

1716. Is that the idea? We're just gonna record them all

1717. until we've got them all before Tuesday when Glyn goes?

1718. Is that it?

1719. I see. So we'll have time…

1720. - So Wednesday night, we've recorded— - Yeah, do them all.

1721. I've gotta mix— I'd like to mix 'em before I go too…

1722. - Doing the show. - …somehow.

1723. Are we still doing the show?

1724. I don't know, really.

1725. Say we did eight or nine, he'll come back after about a week or something.

1726. That's if we don't get 14 done by Tuesday.

1727. - Okay. Uh…

1728. The piano. It'd be nice to make the piano, like, one of those bad pianos.

1729. Yes.

1730. 'Cause it—

1731. Glyn, how can we make the piano like one of those very bad old honky-tonks?

1732. Rather than like a Blüthner grand.

1733. What does the paper do to the piano?

1734. - Just make it tinnier? - Tinny the sound.

1735. - Yeah, just tinnier. - More like, yeah, honky-tonk.

1736. Less like a Blüthner, in short.

1737. - What? - Less like a Blüthner.

1738. Less like a Blüthner, in short.

1739. A fucked-up Blüthner.

1740. The main thing with this, in my head it's like,

1741. influenced by those old fellas,

1742. you know, where nothing was professional at all.

1743. So it's really just like a one-take wonder.

1744. But we may have a four-take wonder.

1745. - That's all.

1746. Personally, I was a phenomenon.

1747. Another slug of whiskey, Mama.

1748. Does this guitar sound in tune, Glyn?

1749. - Yeah, was it all right?

1750. - I mean, me solo was out of this world.

1751. - What's it like, Glyn? - All right.

1752. - Should we keep it and do another?

1753. Yeah. George?

1754. How are you?

1755. Should we keep that and do another?

1756. - Right back. - Okay.

1757. 'Cause I'm gonna go over me peak in a minute.

1758. I think I'm hitting me best now.

1759. Okay!

1760. Start again, hey.

1761. Just don't talk when he's playing there, gang.

1762. So let's keep that and do one more.

1763. - What for? What for? - Next time, please.

1764. - So he can do the guitar like he wants it. - Come on.

1765. But I think, uh…

1766. I think we're getting a good sound in Apple Studios.

1767. - Yeah. - Yeah. I think we are too.

1768. We're taking our…

1769. Okay, can you play us the other one?

1770. I'll just take this after the first one and just bring it on after "I love you."

1771. - Yeah, you just— - And leave it in there.

1772. That's a good idea.

1773. Yeah, I'm full of ideas like that.

1774. - I'm famous for 'em. - Yeah.

1775. - Literary Beatle, you know? - Hail to the captain.

1776. This is one that Alex at Apple Electronics has brought out.

1777. - And there isn't another one in the world. - It's a mixer!

1778. - Yeah. - It's a 20-channel mixer.

1779. Or a radar screen, or a tail of an aeroplane.

1780. - Aeroplane. - Or…

1781. Just as uncomfortable as the rest of 'em.

1782. - I would dig to play onstage, you know? - Yeah.

1783. I mean, if it was all— everything was all right and there was no messing

1784. and we're just gonna play onstage.

1785. You know, that's why I said yes to the TV show.

1786. I didn't want the hell of doing it,

1787. but nobody else wants to go on the stage or do a TV show.

1788. You know, that's what it's about. Nobody wants to get out there. You know?

1789. I suppose that's true, you know?

1790. I think so, you know? I'm only going by what's happened.

1791. Yeah, yeah.

1792. What are you trying to make a show out of now?

1793. - I can't answer it, you know? - I know.

1794. I know that there's no sort of answer for it, but…

1795. The things that have worked out best ever for us

1796. haven't really been planned any more than this has.

1797. It's just, you know, it's like you just go into something and it does it itself.

1798. You know, whatever it's gonna be, it becomes that, you know?

1799. See, it's turned out it's not what Paul wants.

1800. It's like if it's— Say it's his number, this whole show.

1801. It's actually turned into our number more than his number.

1802. That's all. And, uh…

1803. It's just that, really.

1804. Yeah, I know, it is majority decisions and all. Yeah.

1805. We're presuming that we are gonna make this LP anyway as one whole piece,

1806. like as if the cameras aren't here.

1807. But it might be an idea to sort of face 'em…

1808. Mmm.

1809. …for the singing.

1810. The point of doing it all in one go is that we're aware of the camera.

1811. So we should look at the camera.

1812. And we sing it straight to 'em. You know?

1813. - Yeah. - And—

1814. The finale'd just be us doing the numbers well.

1815. What do you think?

1816. The main thing is to do the change

1817. from the acoustic numbers to the electric numbers.

1818. I mean, if we're doing a stage show, we'd have to—

1819. "Hold on a sec, ladies and gentlemen, George just getting on his Rickenbacker."

1820. As far as I'm concerned, I would need one run-through on each number

1821. to get the balance set for it, 'cause it's all— everything's changing.

1822. We'll know that better as soon as we've got an order.

1823. Soon as we've got a story.

1824. It's all right, but I'd meant to sort of

1825. put the songs to some other framework this time.

1826. That's what I'd sort of thought.

1827. That we'd just keep to the same environment, totally— always, you know?

1828. We don't ever attempt to break out of it.

1829. We— We're in a recording studio again in London making another album, you know?

1830. I think this is the nicest place I've been for a long time, this studio.

1831. - Yeah, it is. - No, really, you know, I mean.

1832. And also we've played—

1833. This is the most I've ever played by playing every day.

1834. And I can just feel meself getting— me fingers getting loose a bit.

1835. Yeah.

1836. Because we don't get the chance to do that.

1837. - But really I just want to play. - That's what it was about.

1838. What we've got is you all playing live in one room.

1839. That in itself is a fresh thing for The Beatles.

1840. Mmm.

1841. Are you gonna just stay around in a circle?

1842. Unless we felt like standing up 'cause it was a shouter, you know?

1843. No matter what we do,

1844. it's still gonna look like you're sitting in a room making the album.

1845. - It's not per se a show.

1846. All we've got is us, and the documentary, where we happen to be singing.

1847. I mean, you see what happens when we're just grooving to the music.

1848. - The whole place changes. - Yeah, that's true.

1849. And that— If we're doing them well on the day,

1850. without anything…

1851. it should come over. We've gotta do it, you know?

1852. And also, remember, the original idea was a TV show

1853. and then a documentary about it.

1854. And now it's changed to being a movie.

1855. It's like, really, if we're gonna do a film for cinema,

1856. it should've been done on 35 millimeters,

1857. which is just the best quality.

1858. We shot this on 16 because it's a television thing.

1859. Just the still photos would make a UA movie

1860. with soundtrack on it, you know?

1861. I think we should blow it up to 35 and if they don't take it,

1862. - they're fucking fools. - Yeah.

1863. Because they're not gonna get anything else, are they?

1864. Unless we've got incredible quality on this,

1865. 16 blown to 35 is a mess.

1866. - No, it's not. - Generally.

1867. There's a certain stock that blows up better.

1868. Ektachrome 500.

1869. Yeah, this will blow up all right, this film.

1870. Yeah?

1871. I don't know what it is that I'm moaning about, but it's just sort of—

1872. I must admit I can't really see it either, because it's—

1873. It just seems the last two days everything's gone so ridiculously well.

1874. - He's right, you know. - It is good. It's going great.

1875. It really is something.

1876. - It's true though. - Mmm.

1877. I just have a feeling that we— It's all right, you know?

1878. It's nothing to complain about, but…

1879. But it's just funny to sort of realize that after this is all over,

1880. you'll be off in a black bag somewhere on the Albert Hall, you know?

1881. Yeah.

1882. What you're moaning about is there's no payoff.

1883. I think all I wanna do is, like, uh…

1884. I probably, you know, having got it together,

1885. I probably just wanna go and have fun with it.

1886. Rather than just, sort of, finish off exactly as we started.

1887. And I'd like to sort of do a… …for the finish.

1888. - Mmm. - And we just get out in the open,

1889. change of scene,

1890. and go and do it somewhere else, do it on a live show, do it on a stage.

1891. You know, I'd like to light a rocket

1892. and really sort of take off for the end of it.

1893. And, uh, you know…

1894. but that's going a bit, like, overboard, I suppose.

1895. Still could do that.

1896. But that's me, you know? I always do that.

1897. Yeah. Or maybe we don't have to do it on a—

1898. You'd get the week people, the mothers and…

1899. Yeah, great.

1900. The only thing is we've got to get some permission, Paul.

1901. Yes, yes, yes.

1902. So the cops don't come and throw us off, that's all.

1903. What happens if we go on top of the other roof?

1904. If it's somebody else's roof,

1905. then we can get had not only for disturbing the peace and the noise,

1906. but also for trespassing.

1907. Now, um, good.

1908. So, but just roughly timewise, so I can look into gear—

1909. Yeah. So, okay, look, if we say like on Friday or something.

1910. - You know? - Right.

1911. John?

1912. That's a bit powerful, man.

1913. I think the thing is we'll aim for Thursday.

1914. Are we gonna do it all here now?

1915. I think you should aim for a little earlier than Thursday.

1916. 'Cause if you aim for Thursday, it's not gonna be Thursday.

1917. See, we have to give them a chance to get their other cameras in.

1918. Aim for Wednesday.

1919. It'll be pretty quick, but it'll still give us some time to do it.

1920. - Okay, Paul.

1921. - How does it start? - Yeah, I don't really see—

1922. - How does it start? - Any order will be all right.

1923. - How does it start? - The longer the better.

1924. - Okay. Um… - All right then.

1925. - Um— - Go on.

1926. - So just straight into the first verse? - Well, that's— Yeah.

1927. Or an intro.

1928. - Well, I'll probably do…

1929. - All right.

1930. Come on, I only get two notes in this song.

1931. After two then. One, two.

1932. And if it was that length, it would be okay.

1933. Yes, right. You were right about another verse.

1934. - He's right, you know. - He is right.

1935. "Captain Marvel comes to me."

1936. Yeah.

1937. Come on, now. Back to the drudgery. Thank you.

1938. It's you that's making it like this.

1939. It's you that's bloody making it like this.

1940. The real meaning of Christmas.

1941. Come on.

1942. Come on.

1943. Okay.

1944. - "Bloody Mary comes to me."

1945. - Glyn said it's all happening too quickly. - Yeah.

1946. - Yeah. We're very excitable. - It is in a way.

1947. No, you're right. It's coming in all too soon.

1948. Okay, do it exactly then.

1949. As we— As was.

1950. - Oh? - I like the solo—

1951. - Isn't it as it was? - I don't know.

1952. But, I mean, that's the end of the song, as much as I know.

1953. Think what Vera Lynn would do to it, Paul.

1954. Let's see, yeah.

1955. Glyn?

1956. Why is this microphone very quiet?

1957. See, there's only those two verses— Watch me.

1958. We'll write some more, should we?

1959. That's a possibility, I suppose.

1960. Have we had "hour of darkness"?

1961. - Yeah. - Oh. I thought it came quick.

1962. Goddamn you, little microphone.

1963. Okay, you watch us. We're gonna do this now.

1964. - You just watch us. - Okay, boys. Come on.

1965. - Pull yourselves together. - Ha!

1966. - Talking to me? - That's it.

1967. Talking to me?

1968. He's the most together man in Garston.

1969. Yeah, let it develop.

1970. We've gone off.

1971. Are you doing it like we rehearsed it at Twickenham? Or are you changing it?

1972. I'm not sure. I can't remember.

1973. I'm just doing the whole thing twice, which is, like, two verses.

1974. "Can you dig it?"

1975. - Take this one then. - Yeah, take it home.

1976. This'll— This is gonna knock you out, boy.

1977. Especially like to thank you for all the birthday presents.

1978. All moody.

1979. Okay, this is your last chance.

1980. Now look, boys. Now, come on. Enthuse a little.

1981. I can't. I don't even get up to my bit, you keep finishing.

1982. Shut up, will you?

1983. I'll have you banned from bloody Apple if you don't shut up.

1984. I couldn't, you see? I've got to force it.

1985. Yes.

1986. After all that, I came in too soon.

1987. Can we carry this on tomorrow?

1988. - I feel a bit tired now. - Yes, all right.

1989. No, you don't mind if we finish now, do you?

1990. I'm just trying to get the group working, you know, like every day…

1991. I know, but office hours.

1992. Yes, Paul, you have to be strict. Some discipline.

1993. Get a shave, get your fucking hair cut, you know?

1994. - Live, man.

1995. - Are we coming tomorrow? - What?

1996. - Are we coming in tomorrow? - Yeah.

1997. Can we come too?

1998. - Yeah, sure. - Okay. Bye.

1999. Okay. Got it.

2000. Yeah.

2001. Okay.