The Beatles Anthology (1995) s01e04 Episode Script

-[crowd cheering]
-["Help!" playing]
Now I find
I've changed my mind ♪
I've opened up the doors ♪
Help me if you can,
I'm feeling down ♪
And I do appreciate you
being 'round ♪
[music concludes]
["Things We Said Today"
plays over radio]
Me, I'm just
the lucky kind ♪
[Brian Matthew over radio]
I should think that last year
you visited more countries
than ever, isn't that right?
[The Beatles over radio]
That's correct. Yes.
[John] Oh yes, been away.
[Brian Matthew] Which has been your
your favorite one
-that you've visited?
-[John] America, I think, 'cause
[Ringo] Yes, I'll agree with that.
[John] Ringo agrees with that.
[Brian Matthew] Hmm. Why, in particular?
[John] 'Cause you make a lot of m-- No!
-[The Beatles laugh]
-[John] Oh, 'cause
[John] it's good, you know.
It's it's like Britain,
only with buttons.
-[Brian Matthew] I see, yes.
-[Paul] Pardon?
[John] That's a sort
of abstract statement, Paul.
[Paul] It's a sort of-- Yeah.
Well, there's more people,
you know, in America,
so so we get big audiences,
and it's all wild and happy.
[George] I remember once
when we
we were going to go back
for the second tour of America,
and they were saying, "Oh, yeah,
we're gonna start
in San Francisco
-with a ticker-tape parade."
-[music concludes]
And that was once
when I actually did say,
you know, "I'm not going."
"I'm not I'm not having
a ticker-tape parade."
You know, I mean, it was only
seemed like a year, uh,
since they just
assassinated Kennedy.
And, um
I could just imagine,
you know, this
how mad it is in America.
-[crowd screaming, cheering]
-["Rock And Roll Music" playing]
Just let me hear some of that
rock and roll music ♪
Any old way you choose it ♪
It's got a black beat,
you can't lose it ♪
Any old time you use it ♪
Gotta be rock and roll music ♪
If you wanna dance with me ♪
If you wanna dance with me ♪
You know, [chuckling]
it was just so much fun.
I've got no kick
against modern jazz ♪
Unless they try to play it
too darn fast ♪
And lose the beauty
of the melody ♪
Until they sound
just like a symphony ♪
That's why I go
for that rock and roll music ♪
Any old way you choose it ♪
It's got a black beat,
you can't lose it ♪
Any old time you use it ♪
It's gotta be
rock and roll music ♪
If you wanna dance with me ♪
If you wanna dance with me ♪
You know,
everybody got into the mania.
I took my loved one over
'cross the tracks ♪
And she could hear
my man a-wailin' sax ♪
I must admit
they had a rockin' band ♪
Man, they were blowin'
like a hurricane ♪
That's why I go
for that rock and roll music ♪
Any old way you choose it ♪
It's got a black beat,
you can't lose it ♪
Any old time you use it ♪
Gotta be rock and roll music ♪
If you wanna dance with me ♪
If you wanna dance with me ♪
It was We were getting
a little crazy with it all.
Way down South
they had a jubilee ♪
Them Georgia folks,
they had a jamboree ♪
They're drinking home brew
from a wooden cup ♪
The folks are dancing,
they got all shook up ♪
And started playing
that rock and roll music ♪
Any old time you use it ♪
It's got a black beat,
you can't lose it ♪
Any old time you use it ♪
Gotta be rock and roll music ♪
If you wanna dance with me ♪
If you wanna dance with me ♪
It was like being in the eye
of a hurricane,
and so, we never
there was never a time
when you thought [gasps]
You thought, "What's going on?"
And that was about
as deep as it got.
"What is happening?"
Or "What" [gasps]
You know, you'd suddenly
wake up in the middle of one,
a concert or a happening,
and think, "What?
"Wha-- How did I get here?"
-If you wanna dance with me ♪
-[music concludes]
On this tour,
we don't get much time,
you know, to do anything.
You know, we wrote 'em,
we recorded 'em,
we play 'em every day.
What do you rehearse?
Smiling, that's all we rehearse.
-[crowd screaming, cheering]
-[car horns honking]
It was just
one giant three-ring circus
from which there was no let-up.
Even when we got away
from the screaming fans,
there was
all the screaming policemen.
-[officers yelling indistinctly]
-[crowd cheering]
The only peace they got
was when they were alone
in their hotel rooms,
hearing the screams outside.
[fans screaming, cheering]
The only place
we ever got any peace
was when we got in the suite
and went to the bathroom.
You know, that's
that was about the only place
where you could have
a bit of peace.
Altogether,
I think it's 30 days.
There's just
m more people here
'cause they're bigger stadiums.
We normally play in theaters
in England.
We'd like to carry on
with a song
which was
on our first Capitol album.
And we hope
we hope you enjoy the song.
The song's called "All My Loving".
-[crowd cheering]
-["All My Loving" playing]
Close your eyes
and I'll kiss you ♪
Tomorrow I'll miss you ♪
Remember I'll always be true ♪
And then while I'm away ♪
I'll write home every day ♪
And I'll send
all my loving to you ♪
I'll pretend
that I'm kissing ♪
The lips I am missing ♪
And hope that my dreams
will come true ♪
And then while I'm away ♪
I'll write home every day ♪
And I'll send
all my loving to you ♪
[music fades]
Because of the size
of the audience
and the volume of the noise,
there was nothing else
I could do
through the numbers,
bar play the offbeat,
and as a musician
you know what that is, you know.
No matter what it was,
I mean, I could only, "crack"
[mutters rhythmically]
You know, and trying to lip-read
where they were up to
in the songs
and try and read
by their movements,
you know, from the back of,
uh, John, Paul and George,
sometimes, where the hell
we were up to in the song.
-[music continues]
-All my loving ♪
-Ooh ♪
-I will send to you ♪
-All my loving ♪
-Ooh ♪
Darling, I'll be true ♪
-Yeah!
-[crowd cheering]
[Paul] People would say,
"Don't
Doesn't it drive you mad,
all these girls screaming?"
We didn't mind it,
you know, 'cause sometimes it
it covered, uh,
you know, a multitude of sins.
We We were out of tune.
It wasn't-- Didn't matter.
We couldn't hear it,
nor could they, so
it was handy some nights.
We never realized
how fast we played
when we were live,
'cause the adrenaline, uh,
sometimes would just make you,
you know, instead of
All my loving [imitates beat]
it'd be, All my loving ♪
[imitates sped-up beat]
Very fast, you know.
Oooh! Very hyper, and all the adrenaline,
and we were talking fast, and
[speaks gibberish] "Thank you!"
[speaks gibberish]
On to the next song, you know.
And we were playing
the repetition of all our s
our singles, mainly,
you know, just doing our hits.
-[music continues]
-All my loving ♪
-Ooh ♪
-All my loving ♪
Ooh, ooh, all my loving ♪
-Ooh ♪
-I will send to you ♪
-[music concludes]
-[crowd cheering, applauding]
[John over mic] Thank you, folks.
[John] The Hollywood Bowl
was pretty tatty, you know.
It's nice, when to hear.
It'll probably go out one day, I suppose.
But we were so nervous,
you know.
It was like going on the Palladium.
["She Loves You" playing]
I arranged with Capitol
to provide their engineers,
and we we recorded
at Hollywood Bowl,
but the techniques we had then
in America
was three-track half inch,
and the separation
wasn't too great. To begin with,
you know, you had your voices
in the center,
but you had a mixture
of drums, and bass,
and guitars on your
your separate side tracks.
But pervading the whole lot
was the enormous welter
of screams from the audience.
I mean, it was like
putting a microphone
by the sound of a
by the end of a 747 jet.
It was just one
continual screaming sound.
And it was very difficult to get
a good recording out of it
with the techniques
we had there.
And, in fact,
Hollywood Bowl tapes
weren't issued.
They didn't think
it was right to do so.
We listened to that back
and we wouldn't let them
release it.
Uh-- Uh, years later,
George and Geoff Emerick
uh, George Martin
and Geoff Emerick
did a lot of work on it.
And refurbished them
and worked on them,
and we did actually
issue a record.
-[music concludes]
-[crowd screaming, cheering]
My idols were Elvis.
Uh, pre-army Elvis.
You know, I still think
that was, like,
the most exciting thing going.
Um Little Richard.
I was a big fan of Richard.
But we'd met him in Hamburg,
so we we didn't have to go
to America to meet Richard,
but he was still a big idol.
Chuck Berry,
Jerry Lee Lewis, Fats Domino.
We met Fats in New Orleans.
He had a very big diamond watch,
shape of a big, big star,
you know,
which was very impressive.
Um
Yeah, we started
to meet meet these
these these people who'd
really just been in newspapers
and on film, you know,
we actually were rubbing
shoulders with 'em.
["A Hard Rain’s A-Gonna Fall" playing]
And it's a hard ♪
And it's a hard ♪
And it’s a hard rain’s
a-gonna fall ♪
He was one of them.
He was our idol.
Not, uh, an idol,
but we just heard his record.
As I said,
we listened to his album
and it really gave us a buzz
and we played it constantly
over and over and over again.
I think it was Freewheelin'.
[John]
And when I first met Dylan,
I was pretty dumbfounded, you know.
That was back in New York.
He thought
"I Want To Hold Your Hand"
was when it goes,
"I I can't hide",
he thought we were singing,
"I get high", you see.
We had the biggest laugh
all night, forever.
It was fantastic, you know.
-So, when we met him
-[music concludes]
yeah, well, you know,
by that time,
we'd heard much more of him
and knew much more about him.
It was a great honor
to meet him.
We had a crazy party
the night we met.
That was the first time for me
that I'd really
smoked marijuana.
And, uh, I laughed
and I laughed and I laughed.
It was fabulous.
I thought I'd got
the meaning to life that night.
And I went around
trying to find our roadie.
"Mal, Mal, Mal,
get a pencil and a paper!"
"I've got it! I've got it!"
And Mal, who was a bit out of it,
he couldn't find a pencil
and paper anywhere.
But eventually, in the end
in the end of the evening,
he found it,
and I wrote down my
my message for the Universe,
you know.
I said, "Now keep that."
"Keep that in your pocket."
[whispers] "Really."
And Mal did.
The next morning,
he said, "'Ere, Paul."
[chuckles] He said,
"Do you wanna see that?"
I said, "What?"
He said, "That bit of paper."
"Oh, yeah!"
And I'd written,
"There are seven levels."
[gulps]
["The Times They Are A-Changin'"
playing]
For the times
they are a-changin' ♪
[melodic harmonica playing]
[music concludes]
One trip or another,
we met Elvis.
It was it was, um,
one of the highlights
of [laughs] our visit.
-["Mohair Sam" playing]
-Who is the hippie ♪
That's happenin'
all over our town? ♪
Tearin' up the chicks ♪
With the message
that he lays down ♪
[George] We were
in this Cadillac limousine,
and we had a couple of cups
of tea in the back of the car,
and by the time
we got to Elvis's house,
we forgot where we were going.
It didn't really matter
where we were going.
[Ringo] Bel Air, actually.
And, uh, you know,
this meet was arranged.
We were gonna go and see him.
I was pretty excited
about it all, and we arrived.
[George] We pulled up
and there was these big gates,
and somebody says, "Oh yeah,
we're gonna see Elvis!"
And then we all fell out,
just like in a Beatle cartoon.
We all fell out the car,
all "hee-hee" in hysterics,
trying to pretend
we weren't silly.
And then we went in the house,
and there's Elvis
sitting on a couch,
playing a Fender bass
plugged in an amplifier,
watching the TV.
I said, "Oh, it's Elvis."
I mean, it was Elvis.
He just
just looked like Elvis.
He was the king, wasn't he?
It was Elvis.
[chuckles]
This is Mr. Hips, you know?
Hip-swiveling man!
[chuckles] Wow!
You know, that's Elvis.
And he was playing, um,
"Mohair Sam" all evening.
He had it on jukebox.
He just played it,
like, endlessly.
That was, like, the record
of the moment for him.
So, it was great to see,
"Oh, he's a music fan."
You know, he's not just
'Cause that was
one of our big records
-of the moment too.
-[music concludes]
[John] He had his
a TV going all the time,
which is what I do anyway.
And in front of the TV,
he had a massive
big bass amplifier,
Fender bass amplifier,
or just a Fender amplifier.
And-- Oh, yeah, there was a bass,
was a bass plugged in it.
And he was playing bass
all the time
with the, uh
the picture up on the TV.
[chuckles] So we just got in there
and, uh, played with him,
you know. We all plugged in
what was around,
and we all played and sang.
[George] I never jammed
with Elvis at all.
-[Paul] No.
-[George] Now he
[Paul] John said he'd--
-John jammed with Elvis.
-[George] Yeah.
It must have been
when we went out of the room.
He used to go over
secretly at night.
I think it was
'cause he had a bass there,
-you know, so I thought
-In the basement.
Right, well,
you know, bass, hey,
he's he's interested in bass.
Ringo was playing football
with him, though.
Yeah, I played football
with Elvis.
And around about 10:00 or 10:30,
um, Priscilla was brought in.
So I think she had a long thing on,
and a tiara.
I've got this picture of her,
like, as a sort of Barbie doll
with, like, gingham
kind of, purple gingham,
and a bow,
a gingham bow
in her very beehive hair.
I don't remember.
I spent most of the party
trying to suss out from his gang
if anybody had
any reefer. [laughs]
Well, I think, uh,
it wouldn't have mattered to me
if she was there, uh
just, you know, because it was him
I came to see, and
and I don't remember the boys
he had with him.
You know, all his gang,
the Memphis Mafia,
whatever they call them,
all those guys.
You know, he just was surrounded
by these sycophants.
[imitates Elvis] "Oh, I'm going
to go to the loo now."
"Okay, El, we'll all go
to the loo with you."
You know, it was just so strange.
And I was just so angry
because he wasn't making
any music.
He was not doing
what he should have been doing.
[John] We were asking him about this,
just making movies
and, you know,
not doing any
personal appearances or TV.
And he seems to enjoy it.
You know, I think he enjoys
making movies so much.
'Cause we couldn't stand
not doing personal appearances,
you know.
We'd get bored.
We get bored quickly.
He says he misses it a bit,
you know.
He's just-- No, he was great, you know.
He was just how I expected him.
And it just sort of faded out.
You know, it's
you couldn't get close.
You know,
it's not like we could have
become good friends.
It was impossible.
It was It was great.
It was great. Yeah, you know,
it was really one of the great
meetings in my life.
I mean, the saddest part is
now, years and years later,
we found out that he tried
to have us banished from America
'cause he was very big
with the CIA
and everything, and
that's, uh
that's very sad to me,
that he f
he felt so threatened,
you know, that he thought,
like a lot of people,
that we were bad
for the American youth. [laughs]
["Hound Dog" playing]
Well, you ain't never
caught a rabbit ♪
You ain't no friend of mine ♪
You ain’t nothin’
but a hound dog ♪
-[music concludes]
-[crowd screaming, cheering]
-["Slow Down" playing]
-You better slow down ♪
Baby, now you're moving
way too fast ♪
[Brian Matthew] Today, The Beatles
returned from America,
where they played 32 shows
in 34 days
in 24 different cities.
But there's no rest
for the boys.
In two weeks, they'll be back
out on the road here in the U.K.
[crowd screaming, cheering]
If you look at any of those,
uh, books that
that say where the Beatles
were working,
you find we we hardly
ever had a day off, you know,
and we'd have to complain
to Brian.
He'd have all the pressure
of people saying,
"Yeah, we wanna book the Beatles--
Wanna book--
I've got to have them, gonna--"
making him offers
he couldn't refuse.
But we were having to say,
"We've gotta
have a day off, man!"
We didn't get any time off.
You know, we seemed to get
five minutes off here and there.
It might have been longer
than that,
but it felt like five minutes.
But that was okay.
["I Feel Fine" feedback note]
[George Martin] John had
mucked around with feedback
for a while,
and, yes, it was intentional.
He found it quite difficult
to get the right
the right amount of feedback,
you know.
And I think it was
the first time, was it not,
that feedback
was used on a record?
He loved things like that.
He loved, uh,
weird kind of, um, effects.
And it was his idea.
It was great.
[John] That's me completely,
including the guitar lick.
I had this electric
acoustic guitar,
and it would feed back.
[Paul] John and George
had Everly Brothers Gibsons.
[George] Yeah, the--
Well, we had these big Gibson,
-round soundhole electric ones.
-[Paul] We called them Everly Brothers.
[Paul] They looked
like the Everlys had used.
And John leaned his
against the amp--
The amplifier, yeah.
And then we were
just going to go on
and talk about the song,
and suddenly, the
the A string started
feeding back.
It just went
[imitates feedback droning]
We were just, "WHAT!!?
Can we-- Can you do that?"
You know, he said,
[imitates George Martin] "Well, yes,
if you add it on the front or something."
-So I'm sure that's--
-But he figured out
-how to do it, you know
-Hmm.
'cause we used to do it
on stage then, live.
So John figured out, you know,
you just had to hit the A,
and then get it by the
-[imitates feedback droning]
-buzzing by the amp.
So that was the start
of all that Hendrix feedback.
Yes, he invented
Jimi Hendrix, and
It probably was,
actually, you know.
[John]
And the little intro, which goes
[imitates feedback droning,
guitar riff]
is the first feedback.
I claim it for the Beatles.
[feedback droning]
["I Feel Fine" playing]
Baby's good to me, you know ♪
She's happy as can be, you know ♪
She said so ♪
I'm in love with her ♪
And I feel fine ♪
Baby says she's mine, you know ♪
She tells me all the time, you know ♪
She said so ♪
I'm in love with her ♪
And I feel fine ♪
I'm so glad ♪
-That she's my little girl ♪
-Ooh ♪
She's so glad ♪
-She's telling all the world ♪
-Ooh ♪
That her baby buys her things,
you know ♪
He buys her diamond rings, you know ♪
She said so ♪
She's in love with me ♪
And I feel fine ♪
She's in love with me
and I feel fine ♪
Mm ♪
-[music concludes]
-Funny chaps. Who are they?
Well, maybe I'll find out
as the show goes on.
[Brian Matthew over radio] And most
of the boys' songs today
are taken from their latest LP,
which is called what, Paul?
[Paul] Called Beatles For Sale.
[Ringo] Paul'll tell you.
[Paul] And-- [chuckles] And, uh
-it's got eight of our songs
-[Brian Matthew] Of your own.
and the rest are
the rest are eight from fourteen?
What's that? Nine, please.
[George] No, six
[Paul chuckles]
I'm not very good at counting.
-[Brian Matthew] So I see.
-[Paul] Six, of course.
[Paul] Six. Yes. Eight and six is--
[John] How many GCEs?
[Paul clears throat]
Well, I didn't get that one
counting. Didn't get counting.
[Brian Matthew] Who are the other numbers,
can you remember?
[Paul] "Kansas City" is one.
[John] Two Carl Perkins,
one Little Richard,
one Chuck Berry,
and one Dr. Feelgood,
and that's the
that's the rest.
[Brian Matthew]
What's the Chuck Berry number?
[John] Uh, "Rock And Roll Music",
which goes on for about an hour.
[Paul] We like the old numbers.
["Everybody’s Trying To Be My Baby"
plays over radio]
Everybody's trying
to be my baby ♪
Everybody's trying
to be my baby now ♪
[George Martin] It was only
after the first year
that they started getting
really interested
in studio techniques.
They always wanted
to get the thing right,
so it wasn't
a one-take operation.
They would listen to it
and they'd do two or three takes
until they got it
pretty well right.
[George Martin] Ringo,
can you give us any more?
[Ringo] Yeah, as loud as you want.
[Paul] Let's hope this one turns out
pretty darn good, huh?
["Honey Don’t" playing]
Well, how come you say
you will when you won't? ♪
Say you do, baby,
when you don't ♪
Let me know, honey,
how you feel ♪
Tell the truth now,
is love real? ♪
But, ah, ah ♪
[George] Things like
"Honey Don't"
and "Everybody's Trying
To Be My Baby",
we'd played live so much,
we just had to get the sound
on that and just do it.
But things like
"Baby's In Black",
well, that was like
learn the songs
and rehearse them,
and I think
we were beginning to do
a little bit of overdubbing
in those days.
It's probably a four-track.
-[engineer] Take 7.
-[John] We goofed, man.
[Paul] Goes
I think of her
but she thinks only of him ♪
And though it's only a whim,
she thinks of him ♪
-[John] Her name is Jim ♪
-[Paul] Oh, how long will… ♪
-[John] That bit? [chuckles]
-[Paul] Okay.
[John] Soon as you hear "Jim", you're in.
[Paul clears throat] One, two, three.
One, two, three.
["Baby's In Black" playing]
Oh dear, what can I do? ♪
Baby's in black
and I'm feeling blue ♪
Tell me, oh, what can I do? ♪
[Paul] I used to go out
to John's house in Weybridge,
uh, to write songs.
And at that particular time,
I had been,
uh, busted for speeding,
so I had to have a driver
to take me out there.
And we were chatting on the way.
I remember saying to the guy,
"Well, how have you been?"
you know. "Have you been busy?"
And he said, "Oh yeah, mate."
He said, "I've been working
eight days a week."
And I went into John's house
and said,
"Right, I've got the title
'Eight Days A Week'."
And we wrote it there and then.
["Eight Days A Week" playing]
I ain't got nothin' but love, babe ♪
Eight days a week ♪
[Ringo] The rehearsal
would go on in the studio,
because, uh, from very early on,
a lot of the songs weren't finished.
The ideas were there for the songs,
or the first verse, or a chorus,
but it it could be changed
by the writers
-as we were doing it.
-[music concludes]
[engineer] Take 1, "No Reply".
[John] Sing it?
What was that
about not singing it with me?
[Paul] Well, okay, I'll just sing it.
[John] 'Cause my voice is killing me.
[Paul] This happened once before ♪
[Paul] I'll sing, okay. One
One, two, three.
["No Reply" playing]
This happened once before
when I came to your door ♪
[Paul] That is a rather nice cover.
That's Robert Freeman. Nice photos.
We showed up in Hyde Park
near the Albert Memorial.
And we were just quite impressed
by George's hair there.
It was a marvellous little turnip top
he managed to create.
I saw the light ♪
[music concludes]
["Help!" playing]
-Help! ♪
-I need somebody ♪
-Help! ♪
-Not just anybody ♪
-Help! ♪
-You know I need someone ♪
-Help! ♪
-[music concludes]
We'd done
the Hard Day's Night, uh, film,
which was great, and, uh
Dick Lester had done this
kind of slightly artsy
black and white thing
that I think we'd all loved.
So the next thing was,
"Okay, well, what do we do now?"
"Well, maybe a color film."
In color, yeah, wow.
They-- See, they had
more money for that one.
So then things went
a little bit, uh, awry, I think,
because what happened
then was
um, we started saying,
"Well, we've never been
to the Bahamas.
-Could you write that in?"
-["Another Girl" playing]
-For I have got ♪
-Another girl ♪
Another girl ♪
You're making me say
that I've got nobody but you ♪
But as from today ♪
Well, I've got somebody
that's new ♪
I ain't no fool ♪
And I don't take
what I don't want ♪
For I have got ♪
It was fabulous.
But the the problem,
we went to the Bahamas,
of course,
to do all the hot scenes,
and it was freezing.
And, of course, we had to
ride around and run round
in, uh, just shirts
and little thin trousers,
and that.
-But it was absolutely bloody cold.
-[music concludes]
"I've never been skiing.
I wonder if you could
write a scene in
with skiing," you know.
-["The Night Before" playing]
-We said our goodbyes ♪
Ah! The night before ♪
Love was in your eyes ♪
Ah! The night before ♪
Now today I find
you have changed your mind ♪
Treat me like you did
the night before ♪
First time I'd been on skis.
I loved that.
Not that any of us could ski.
I mean, Dick Lester
just put us on skis
and edged us down a mountain.
[music concludes]
Well, uh, I think, you know,
this was beginning
to get into that period
when, um
people were, sort of,
giving up the drink,
which had been the sort of
stimulant of the times,
and were getting
into the herbal jazz cigarettes.
I was 14 years older
than they were. They knew,
I guess, I was straight,
and they knew I disapproved
very strongly of drugs.
I'm afraid
I used to smoke cigarettes,
and that's pretty well as bad.
Um So they never smoked pot
in front of me.
They used to just nip down
to the canteen below
and have a little drag,
you know,
and come out giggling a bit.
I knew what
what they were doing,
but, um,
it didn't make any difference.
[George] One, two, three.
["You’re Going To Lose That Girl"
playing]
Yes, yes, you're gonna lose that girl ♪
You're gonna lose that girl ♪
Yes, yes, you're gonna lose that girl ♪
If you don't take her out tonight ♪
She's gonna change her mind ♪
She's gonna change her mind ♪
And I will take her out tonight ♪
And I will treat her kind ♪
I'm gonna treat her kind ♪
You're gonna lose that girl ♪
Yes, yes, you're gonna lose that girl ♪
-You're gonna lose that girl ♪
-Yes, yes ♪
You're gonna lose that girl ♪
I'll make a point
of taking her away from you ♪
-Watch what you do ♪
-Yeah ♪
The way you treat her,
what else can I do? ♪
You're gonna lose that girl ♪
You're gonna lose that girl ♪
-You're gonna lose that girl ♪
-Yes, yes ♪
You're gonna lose that girl ♪
-You're gonna lose that girl ♪
-Yes, yes ♪
You're gonna lose that girl ♪
-You're gonna lose ♪
-Yes, yes ♪
You're gonna lose that girl ♪
I'll make a point
of taking her away from you ♪
-Watch what you do ♪
-Yeah ♪
The way you treat her,
what else can I do? ♪
If you don't take her out tonight ♪
She's gonna change her mind ♪
She's gonna change her mind ♪
And I will take her out tonight ♪
-And I will treat her kind ♪
-I'm gonna treat her kind ♪
You're gonna lose that girl ♪
Yes, yes, you're gonna lose that girl ♪
-You're gonna lose that girl ♪
-Yes, yes ♪
You're gonna lose that girl ♪
-You're gonna lose that girl ♪
-Yes, yes ♪
You're gonna lose that girl ♪
[music concludes]
-[indistinct chatter]
-[engineer] Yeah, I've heard it.
Boys, are you buzzing?
[John] By then,
we were smoking marijuana
for breakfast at that period,
and we were well into marijuana,
and nobody could
communicate with us
'cause it was just
four glazed eyes
giggling all the time, you know,
in their own world.
We had fun in those days.
I think that was
one of the reasons
for not learning the script.
We just sort of showed up
a bit stoned, you know,
and sort of smiled a lot,
and hoped we'd get through it.
It appears I need one card
[George] It's difficult
when four people
all have to say, um, lines,
you know, one behind the other.
And, uh, you know,
if one person forgets it,
you've gotta start again,
and then the next person
would forget his lines.
And we did some scenes
The scenes that were
in Buckingham Palace in Help!
We [chuckling] we were
doing that scene for days.
You know, where they put some
There was some pipe
with some red smoke
comes through, you know,
and we shove it out the window,
and all the guards fall over.
[royal guard] Eyes front!
Must be their tea break.
That scene, it just went on forever,
you know.
And we were just in stitches,
just in hysterics, laughing.
And we pushed Dick Lester,
I think,
to the limit of his, uh
'Cause he was
very, very easy-going.
He was a very a good
you know, pleasure to work with.
[Ringo] There's one scene
in the film
where, um, Victor Spinetti,
and, uh, whoever else
is in the scene,
and they're doing that curling.
You know, those big stones
they they do. [chuckles]
And one of them, of course,
has a bomb in it.
We find out about this,
so it's gonna blow up,
and we have to run.
We have to run away.
-[George] Run, Ringo!
-[crowd clamoring]
Paul and I ran
about seven miles. [laughs]
We we just ran and ran
so we could stop
and have a joint [chuckles]
and and come back
We were just off.
You know,
we'd run to Switzerland.
[crowd screaming]
[John] I enjoyed filming it.
You know, I'm sort of satisfied,
but not smug about it.
You know, it'll do.
We couldn't do it
any better than that
because we're not
capable enough actors
to make it any better than that.
[George] I had these two guys
who used to write songs
whenever we needed some.
I think we just called them up and said,
"Look, we'll be doing a movie now, lads.
Will you come up with a couple
of catchy hits?"
[Paul] I would go out
to Weybridge,
where John was.
I'd drive out myself, um
Wake him up, mainly.
You know, he'd be
he'd sort of wait
till I got there
and we'd have a cup of coffee
or something.
And then
we'd just spend the afternoon,
just two or three hours,
sit up
and he had a little room
up at the top of the house,
a little music music room,
and we'd just go
and lock ourselves away in there,
and just say,
"Okay, what have we got?" you know.
[engineer] "Ticket to Ride". Take 1.
-[Paul] That one?
-[engineer] Okay.
[Paul, high-pitched]
The girl that's driving me mad ♪
[John] Come on.
[Paul] She's going away ♪
[John] Right, George.
[Paul] Oh, she's got a ticket to ride ♪
["Ticket To Ride" playing]
She's got a ticket to ride ♪
She's got a ticket to ride ♪
She's got a ticket to ride
and she don't care ♪
She said that living with me
was bringing her down, yeah ♪
She would never be free
when I was around ♪
She's got a ticket to ride ♪
She's got a ticket to ride ♪
[Paul] I think it was largely John's,
the actual "Ticket To Ride" bit.
We wrote it together.
[John] I liked it 'cause it was
slightly a new sound
at the time.
I used to like guitars,
you know? [chuckles]
I don't want anything else
on the album
with guitars and jangling piano
or whatever.
And it's all happening,
and that's a
it's a heavy record, you know.
I think I'm gonna be sad,
I think it's today, yeah ♪
The girl that's driving me mad
is going away, yeah ♪
[Paul] You see, with John and I,
certain songs would nearly always be
the idea of one of us.
One of us had actually said,
"'Ticket to Ride' would be good."
The other one would say,
"Okay, that's what we'll write today."
["Help!" playing]
-Help! ♪
-I need somebody ♪
-Help! ♪
-Not just anybody ♪
-Help! ♪
-You know I need someone ♪
Help! ♪
John got the idea, I think,
for the title "Help!",
and I think from things
he said later,
I think it was a bit his state of mind.
You know, he was feeling
a bit constricted
by the whole Beatle thing.
He never said that
when he wrote it.
He said it retrospectively,
that was how he was feeling
-[music concludes]
-and that's why he wrote that, um
But he was kind of plump and, um
and, you know,
he had his he
I think that he just didn't
feel right, you know.
He got a bit podgy, or something,
in his own eyes, you know,
and that was depressing him
a bit, you know.
But I think John has, uh--
he's done interviews
and articles about that.
I mean, I'd go into
these troughs every few years.
It was less noticeable in the Beatles
because the Beatles' image
and thing would carry you
through it, you know.
I mean, I I was in the middle
of a trough in "Help!" you know,
but, uh, you can't see it really.
I mean, I'm sing
I'm singing "Help!"
for a kick-off, you know.
And, uh but it was less noticeable
because you're
you're protected by the
the image of the power of the Beatles.
-[crowd cheering]
-"Help!" One, two, three, four.
-["Help!" playing]
-Help! ♪
I need somebody ♪
-Help! ♪
-Not just anybody ♪
-Help! ♪
-You know I need someone ♪
Help! ♪
Hey!
When I was younger,
so much younger than today ♪
I never needed ♪
I never needed
anybody's help in any way ♪
But now these days are gone
I'm not so self-assured ♪
And now I find ♪
Now I find
I've changed my mind ♪
And opened up the doors ♪
Hey!
Help me if you can,
I'm feeling down ♪
And I do appreciate you
being 'round ♪
Help me get my feet
back on the ground ♪
Won't you
please, please help me? ♪
And now my life has changed
in oh so many ways ♪
My independence ♪
My independence
seems to vanish in the haze ♪
But now and then ♪
And in these clever days
I'm not so self-assured ♪
I know that I ♪
I know that I just need you
like I've never done before ♪
Hey!
Help me if you can,
I'm feeling down ♪
And I do appreciate you
being 'round ♪
Help me get my feet
back on the ground ♪
Won't you please, please help me? ♪
When I was younger,
so much younger than today ♪
Never needed anybody's help in any way ♪
But now these days have gone
I'm not so self-assured ♪
And now I find ♪
Now I find
I've changed my mind ♪
And opened up the doors ♪
Hey!
Help me if you can,
I'm feeling down ♪
And I do appreciate you
being 'round ♪
Help me get my feet
back on the ground ♪
Won't you please, please help me? ♪
-Help me ♪
-Help me, ooh ♪
-[crowd cheering, applauding]
-[music concludes]
I used to live
in this, uh, little flat
up at the top of a house,
uh, in a little room I had.
And I had a piano by the bed.
And I just woke up one morning
with this tune in my head.
Um, and I thought,
"I don't know this tune, or do I?
It's like an old jazz tune
or something," and I've--
'Cause my dad used to know
a lot of old jazz stuff.
"And maybe
I've just remembered it
off somewhere."
[quickly hums tune of "Yesterday"]
So I got
went to the piano, found
found the chords to it, you know.
It was like in G, F sharp minor 7th,
sort of B, and that.
And, um
I kind of re
just remembered it
made sure I remembered it.
And then I just hawked it round
all my friends and stuff,
and said, "What's this?
You know, it's gotta be something.
It's like a good little tune, you know,
and I couldn't have written it
'cause I just dreamed it, you know.
You don't get that lucky."
And it wasn't until he got
the lyric together that we
he de decided to record it
and said,
"How should we do it?"
I said, "Well, it's a lovely song,
super song. I can't really see
what Ringo can do on it.
I can't really see
what heavy electric guitars
are gonna do on it.
Why don't you just go down there,
and sing it to me with a guitar,
and we'll decide what to do with it then?"
And it was good, actually,
'cause all the others, the
the guys, I looked at them,
I went, "Oops
I mean, you know, solo record?"
And they said, "Yeah, you know,
it doesn't matter.
There's no nothing
we could add to it, so do it."
And I remember
John listening to it.
And there's a particular bit
where the cello moves
into a kind of bluesy note,
and John thought that was terrific.
So it was it was applauded,
but it wasn't really a Beatle record.
And I discussed this with Brian.
I said, "You know, this is Paul's song.
Shall we call it Paul McCartney?"
He said, "No."
And I can't actually remember
him making that suggestion,
but I I wouldn't have done that.
You know, we
we never entertained those--
It was sometimes tempting.
You know, people would
flatter you and say,
"Ooh, you know, you should get
out front on the band there,"
or "You should put
this solo record out."
But we always said, "Nah."
In fact, we didn't even ever
put it out as a single,
um, in England,
'cause we were kind of
a little bit embarrassed
about it.
We were a rock and roll band,
you know,
we thought
we were like a little R&B combo.
And so, for Paul McCartney
of Liverpool,
-Opportunity Knocks!
-[crowd cheering]
-["Yesterday" playing]
-[Paul] Thank you, George.
Yesterday ♪
All my troubles
seemed so far away ♪
Now it looks as though
they're here to stay ♪
Oh, I believe in yesterday ♪
Suddenly ♪
I'm not half the man
I used to be ♪
There's a shadow
hanging over me ♪
Oh, yesterday came suddenly ♪
Why she had to go ♪
I don't know, she wouldn't say ♪
I said something wrong ♪
Now I long for yesterday ♪
Yesterday ♪
Love was such
an easy game to play ♪
Now I need a place
to hide away ♪
Oh, I believe in yesterday ♪
Why she had to go ♪
I don't know, she wouldn't say ♪
I said something wrong ♪
Now I long for yesterday ♪
Yesterday ♪
Love was such
an easy game to play ♪
Now I need a place
to hide away ♪
Oh, I believe in yesterday ♪
Mm, mm, mm, mm, mm, mm-mm ♪
-[music concludes]
-[crowd cheering, applauding]
Thank you, Ringo.
That was wonderful.
Well, we got into the way now
of every album we made,
then we expected George
to have a song,
and we expected Ringo
to sing a song.
Um, it was a kind of--
You know, we'd try
and include the boys
as a in the in the group.
And George's songwriting
was painful for him
because he had no
no one to collaborate with.
And John and Paul were such a
a, uh
a sort of collaborative duo
that they would
throw out a a word of advice
to George and so on,
but they didn't really work
with him.
'Cause it was an option,
you know, to include George
in the songwriting team,
but without wanting to be
too sort of mean to him,
we had decided--
I remember walking up
through Woolton,
past Woolton Church
with John, just one sort of
one morning, and
and, uh, you know,
going over this question,
should we should three of us write,
or would it be better just
to keep it simple, you know?
And we decided, no, we'd
we'd just keep the two of us,
you know, at it.
So George used
to write his own songs.
["I Need You" playing]
Love you all the time ♪
And never leave you ♪
Please come on back to me ♪
I'm lonely as can be ♪
I need you ♪
[John] Paul and I
really carved up the empire
between us, you know.
George didn't even use to sing
when we brought him into the group.
He was a guitarist, you know?
He just wasn't in
the same league for a long time.
That's not putting him down.
He just hadn't had the practice
at writing that we had.
[George] They'd had a lot of practice,
put it that way.
They'd been writing
since we were at school.
You told me ♪
And so they'd written all their--
Most of their bad songs they'd written
before we got into the recording studio.
For me, I had to come
from nowhere and start writing,
and to have something at least
quality enough to be able to,
you know, put it in the record
with all their wondrous hits.
So come on back and see ♪
Just what you mean to me ♪
I need you ♪
I need you ♪
I need you ♪
[Paul] He wrote "Don't Bother Me",
I remember was kind of
one of the first ones.
And then he started
to improve from that
-[music concludes]
-and eventually, uh, became very good,
um, you know, get getting,
like, a classic with, like,
"Something In The Way She Moves",
you know, which is
I think, uh--
Frank Sinatra, I think,
still refers to it
as his favorite
Lennon-McCartney song.
Thanks, Frank.
And now we'd like
to do something, um,
we don't often do.
Give someone a chance to sing
who doesn't often sing,
and here he is,
all out of key and nervous,
singing "Act Naturally" Ringo.
-["Act Naturally" playing]
-[crowd cheering, applauding]
They're gonna put me
in the movies ♪
They're gonna make
a big star out of me ♪
We'll make a film about a man
that's sad and lonely ♪
And all I gotta do
is act naturally ♪
Well, I'll bet you ♪
I'm gonna be a big star ♪
Might win an Oscar,
you can never tell ♪
The movies gonna make me a big star ♪
'Cause I can play the part so well ♪
Well, I hope you'll come
and see me in the movies ♪
Then I'll know
that you will plainly see ♪
The biggest fool
that ever hit the big time ♪
And all I gotta do is act naturally ♪
Hey! ♪
-[music concludes]
-[crowd cheering, applauding]
Thank you.
Well, I find myself
in distinguished company.
[chuckles]
And may I, without more ado,
introduce…
-George Harrison, MBE?
-Hello. Hello.
Hello. Oh, thank you.
-John Lennon, MBE.
-Oh, ta, yeah.
-Ringo Starr, MBE.
-[The Beatles laugh]
-And Paul McCartney, MBE.
-How do you do?
[Paul] We were at
Twickenham Film Studios
when Brian showed up one afternoon,
and took us to the dressing room
all rather secretively,
and we thought, "Oh, what's this about?"
[Ringo] Brian came and said, uh
"You know, they wanna give you
these MBEs, so
we're going to accept." [chuckles]
"Uh, what do you think, boys?"
And I think at first, you know,
we were very impressed.
We said, "Well, what does it mean?"
You know, they said,
"Well, you become a Member
of the British Empire."
We said, "Well, okay, it's a great honor."
And we were we were honored,
genuinely.
In days gone by,
they used to storm
the royal palace gates
demanding bread or the right to vote
or some other civil right.
These days, it's all for the Beatles.
The mop-haired quartet
receive their MBEs
from the Queen today
their Members of the British Empire.
-["Eight Days A Week" playing]
-Ooh, I need your love, babe ♪
Guess you know it's true ♪
Hope you need my love, babe ♪
Just like I need you ♪
Hold me, love me ♪
Hold me, love me ♪
I ain't got nothing
but love, babe ♪
Eight days a week… ♪
[crowd cheering]
[Ringo] I thought it was
really thrilling that, uh
you know,
"We're gonna meet the Queen,
they're gonna give us a badge."
I thought, "Yeah, this is cool."
[Paul] It was good fun.
We ended up at the palace,
it was quite strange.
And some sort of equerry
to the Queen,
a guardsman, you know,
took us to one side
in this little side room
and sort of showed us how
what we had to do.
You know, you have to approach
Her Majesty like this,
-and never turn your back on her.
-[music concludes]
The other part I remember was,
um, Paul and I went up together.
And first of all, she said
she felt I'd started the band.
[chuckles] I said,
"No, I was the last to join."
And, um
and she said, "Well, how long
have you been together?"
And without a blink,
both Paul and I said
We've been together now ♪
for 40 years [laughs]
And she just sort of
She had this, like,
strange look on her face.
Like [chuckles]
she wanted to, like,
I don't know, laugh,
or what do they
or, "Off with their heads!"
[interviewer] John, had you met
the Queen before?
Uh, no, first time.
[interviewer] What did she
think of you in the flesh?
Did she tell you?
No, she's not gonna say
either way, you know,
but she seemed pleasant enough
to us, you know
-[interviewer] Mm-hmm.
-made us relaxed.
We were standing in the line,
waiting to go through.
It was an enormous line,
you know, hundreds of people,
and we'd been grilled
by the guardsman saying,
"This is what you do
when you get up there."
And then we were so nervous
that we went to the toilet.
And in the toilet,
we smoked a cigarette,
'cause we were all smokers
in those days.
But years later
I'm sure, John,
thinking back and remembering,
"Oh, yes, we went
in the toilet and smoked,"
and it turned into a reefer,
because, you know,
what could be the worst thing
you could do
before you meet the Queen,
is smoke a reefer.
But we never.
I was too stoned to remember.
I don't know.
-["Eight Days A Week" playing]
-Eight days a week ♪
I love you ♪
Eight days a week ♪
-Is not enough to show I care ♪
-[music concludes]
I can't really remember any
sort of Daily Mirror reaction,
"How dare they!"
A lot of [hesitates]
a lot of the army,
that that was
the only other reaction,
was, uh,
soldiers sent theirs back.
This is a form of protest
to the Queen
because this Order
is being debased by everybody
in giving this to, um, uh,
people who are
not deserving of it.
Well, I I think the Beatles
have been adequately
rewarded already.
I think they've got a tremendous amount
of money for what they've done.
If I had the MBE,
I think I should be
slightly put out at being placed
on the same level
as a pop singer.
I'm glad everyone's delighted.
And I think the MBE, anyway,
is a bit of a joke.
Hundreds of people
have got it in the past,
and I cannot see any reason
why the Beatles shouldn't have it.
To me, they're young, vital,
and they give this country
a kick and a lift,
and, my God, we need it.
How do you feel, John,
about having the MBE?
I feel great, you know.
[hesitates]
We're honored. [chuckles]
[interviewer]
What did your wife say
-when she knew you had it?
-[John] She said, "Oh!"
'Cause she didn't
have a clue what
really what it was either,
but she's pleased, you know.
I tried to get her one,
but she couldn't
[everyone chuckles]
After all we did
for Great Britain,
selling all that corduroy
and making it swing,
and they just gave us
that bloody old leather medal
with wooden string through it.
[chuckles]
-["Eight Days A Week" playing]
-Hold me, love me ♪
I ain't got nothing
but love, babe ♪
Eight days a week ♪
Eight days a week ♪
[music concludes]
-[heartbeats]
-[siren wailing]
[Neil Aspinall] It was like
this whole momentum was going,
you know,
that had been going for years,
and it just kept rolling.
[crowd cheering]
[George] You know,
that was in the days
when people were still playing
the Finsbury Park Astoria.
[Ringo] Now we were
playing stadiums.
[crowd cheering]
[George] um, to play
at Shea Stadium.
[Paul] Shea Stadium.
[Ringo] Shea Stadium.
[Neil Aspinall] Shea Stadium.
[John] Shea Stadium.
Now, ladies and gentlemen
honored by their country,
decorated by their Queen,
and loved here in America,
here are The Beatles!
[crowd cheering]
["If You’ve Got Trouble" playing]
If you've got trouble ♪
Then you've got less trouble than me ♪
You say you're worried ♪
You can't be as worried as me ♪
Oh, oh ♪
You're quite content
to be bad ♪
With all the advantage
you had over me ♪
Just 'cause you're troubled ♪
Then don't bring
your troubles to me ♪
I don't think it's funny ♪
When you ask
for money for things ♪
Especially when you're standing there ♪
Wearing diamonds and rings ♪
Oh, oh ♪
You think I'm soft
in the head ♪
Well, try someone softer
instead, pretty thing ♪
It's not so funny ♪
When you know
what money can bring ♪
You better leave me alone ♪
I don't need a thing from you ♪
You better take yourself home ♪
Go and count a ring or two ♪
If you've got trouble ♪
Then you've got less trouble than me ♪
You say you're worried ♪
You can't be as worried as me ♪
You're quite content to be bad ♪
With all the advantage
you had over me ♪
Just 'cause you're troubled ♪
Then don't bring your troubles to me ♪
Ah, rock on! Anybody! ♪
You better leave me alone ♪
I don't need a thing
from you ♪
You better
take yourself home ♪
Go and count a ring or two ♪
If you've got trouble ♪
Then you've got less trouble than me ♪
You say you're worried ♪
You can't be as worried as me ♪
Oh, oh ♪
You're quite content to be bad ♪
With all the advantage
you had over me ♪
Just 'cause you're troubled ♪
Then don't bring your troubles to me ♪
Just 'cause you're troubled ♪
Then don't bring your troubles to me ♪
[music concludes]