The Beatles: Get Back (2021): Season 1, Episode 3 - Part 3 - full transcript
Go on.
A curl?
Didn't you get to bed last night, Glyn?
Sorry. You just look this morning
like you didn't go at all.
- Have you heard the "Octopus" one?
- No.
You learned A minor, then?
That's all I've got.
After the two times, the second time?
Then to get to the G one, a bit, uh?
Let's go from the beginning.
- From the beginning.
- Right.
Then stay on F.
Then that, then this, uh?
What one's that?
Uh--
Just, I mean, something
to sort of get back to where you--
Where we started.
- It's a little bit--
- So it resolves itself.
- Yeah.
Well, I'll have to put words
in that bit, then.
- Oh, drums, right.
I think Paul would wanna do drums,
wouldn't he? With his strong left arm.
I'm not getting on that kit
without a ciggy.
I've never been up here before.
Very strong one.
- Okay!
- I'm a tame tiger. Meow.
- I'm cool with that.
- Are you going to eat them?
- No!
Lots of people do, you know.
On toast?
You put pastry around them,
and you have cat pie.
You better wait a week or two
before you eat them.
- That's very good.
- We'll put on the meat.
Oh, you don't eat them
if they have black spots.
You don't eat them
if they're like tigers, either.
And anyway,
I'm just a pussycat that was just born.
Kevin?
What was the? Do that old gospel ending.
- Sunday morning. Sunday morning. Church.
- Sunday morning. Definitely, yeah.
- And we'll all kneel as we do it.
- We can do a gospel ending that Elvis did.
Yeah.
We all was gonna do it.
- We did it just fine. It was just that?
- Yeah.
I'll tell you one thing.
Do it lighter. Don't do sort of--
Do it more--
And so a bit lighter offbeat, and maybe?
Keep it light.
So it's not going heavy again.
I don't know what you are saying.
Uh?
Hello.
Is anybody?
Let me sing. Hello. Is anybody home?
Hi.
- Aah!
Yoko!
Yeah!
Oh, sorry.
Come on, let it be.
What ones haven't you done yet?
A little thing that goes
something like this.
- No. No.
No, see,
you've gotta wait a lot longer than that.
- You done left me.
- You done left me.
There wouldn't be much drumming,
would there?
Go around a bit, you know?
What?
It sounds a bit like
a sort of dance orchestra.
And the slow foxtrot?
Like Rita and Thomas Williams.
Rita is wearing a dark sombrero
and a beard.
The chord there. I mean--
Her husband is wearing
a crinoline skirt which he made himself.
Still no idea where I come in.
- Off the top of your head.
- John, yours doesn't sound as much?
It sounds like
you're doing too many notes.
- Yeah, all right. Well, it just gets--
- It's too, sort of, regular.
But you're doing?
I've been going?
- You just want the one?
- Don't do that.
No, but I mean, don't do any note there.
Just go?
That's what I'm really doing.
I've been going--
Hello?
Great!
Amazing.
Okay.
One.
When it's mixed, as it is, I'm sure
with a mix on it, it'll be all right.
I know what--
Paul, are you gonna have strings?
- Yeah.
- Well, it's like--
Ooh!
Yeah, there's parts--
There's only parts where
you can hear the electric piano properly,
- or the piano properly.
- Yes.
Most of the time, you know,
like, they mix together.
Yeah. I think it needs,
like, a lot of, uh?
- Cleaning.
- Cleaning, yeah.
Actually,
the thing is, it's a nice feel to it,
but it's rather like
everything else we've done.
And this particular song
doesn't need that.
See, the only way I've ever heard it is,
like, in my head,
- is, like, Ray Charles's band.
- I'm supposed to marry you.
And I don't--
I haven't really even listened to them.
It would be nice with some brass
just doing the sustaining chord thing.
- Yeah.
- Yeah.
- Moving and just holding notes.
- Yeah. We probably, yeah--
- If I pull yours up?
We were planning to do it anyway
for a couple of numbers,
just to have
a bit of brass and bit of strings.
That's what George was saying before.
That's the bit
where The Raelettes'd sing it.
Great. Sorry, man. Oh, that's nice.
That's nice of what?
It's nice of you.
- For what?
- Very nice of you.
- For what?
- Just to come here.
We're going home.
- When?
- Now.
No.
Am I gonna eat now? I'm going back.
She's so worried now.
"I gotta eat for three hours,
then maybe go to bed around 1:00."
You're just going back in your box.
That's where you're going.
- Don't tell. Don't tell.
Aren't I gonna have anything to eat?
Hey, I've got a present for you.
- See you tomorrow.
- Bye.
- Aren't you going, George?
- I said yes, George.
I don't know.
You didn't get the other one?
- No.
- No.
- Well, we'll remember that another day.
- Yeah.
I'm just so high when I get in at night.
I couldn't sleep.
Tea or toast.
- Yeah.
What's this chord, Billy? E with a C?
Yeah. Just loading the E.
- Yeah. That's like E7.
- Yeah.
This one.
- Yeah. Um, E with a raised?
E with a C. E.
- Yeah, E with a C.
- E with a C. What's that?
I've had an E with an F,
which is pretty good.
What's this chord then, Billy?
- It's F, but raising the F to F sharp.
- Yeah. F sharp. Diminished.
And then F with that, like the 7th.
It's great on piano
'cause I don't know anything about it.
Yeah.
But it's great, because I wouldn't have
been able to do that on the guitar.
- Yeah, sorry, that bit comes?
- It does work, the bit--
- But it--
- In the bit before that bit.
Yeah, but then it's, uh--
Then it stays too long on the other one.
- But it's like a natural on there.
- Yeah. Well, you don't know?
- Pianos are very difficult, aren't they?
- Mal? Mal?
The drums are on PA anyway.
When we connect it, I could hear Ringo.
The drums are on PA!
- It's not my idea of a personal assistant.
- No.
Hello? Hello?
'Cause coming from the north of England,
it doesn't come too easy, you know,
all the soul.
- Let's take one now.
Yeah, right.
Ask 'em to put the mics on, will you?
Hello.
And get one for Billy too.
- It's a bit ploddy.
- What?
You know, just--
It sort of plods along a bit. A bit much.
- It's just mourning and slow, slow.
- Mourning and?
And a slow song.
It takes a long time to get out of it.
Yeah.
That'll do for the time being.
"The Wrong and Winding Box."
All those little melodic things, you know?
It's a-- It's a--
It's like the other one, you know.
They're sort of slow, ballady,
and they're plodding a bit.
See, that's the kind of thing. Yeah.
It needs to go like that.
Oh, just a second.
When it goes, um-- On that bit, it goes?
Hang on.
Can we make the bridge?
heavy?
I can't sort of think how to do
this one at all, you know.
Just, mind's a blank on it.
I don't know.
I don't know.
Give up.
It's nice though.
- Have you turned me down?
- No.
It's funny though.
You can't hear the piano either.
We only asked for the piano.
No. I said, "Oh, Ringo is on PA."
A great sound in here
will improve what we do.
No, but I mean, it's like
when we played in clubs in Hamburg.
We sounded great.
So you get?
Let's do that.
It'll help you anyway to begin with.
- Thank you, George.
- You're welcome.
See, 'cause that'd be good
if we could get all that,
get the sound in this room.
It's, like, remember that night
we tried tape echo with George?
On a bit of vocal.
They have bloody big speakers
or something,
to shout through.
They should be
at least as big as a bass amp.
- Yeah.
- Paul.
Yeah.
Thing is, they're both facing
each other for a kickoff.
They're all facing--
They're all right next to the amps.
I mean, get them up there,
they come down to us.
Nail 'em on them sticks up there
and shoot 'em down to us,
and we'll all face that way if you like.
We'll face any way.
Well, then, let's--
I don't know who to tell to do that.
Right, okay.
Yeah. I'll do something about it.
Somehow if we can each hear
what the others are playing.
- Uh?
- Ow!
Just heard that Yoko's divorce
has just gone through.
Free at last.
Did we? "And if"?
Start again.
I've just got written down here,
"If somebody ever loved me."
Oh, I've got, "If somebody
ever really loved me, like as she do me."
Ah.
Maybe we should have,
"I guess nobody ever loved me."
George. George. George.
The layout of the book's
really good, though, the way he's done it.
This is it. Is this the layout?
No, this is just the bit. That bit.
"Beatle John Lennon hugged Japanese
actress Yoko Ono last night and said,
'My marriage is over.
I am in love with Yoko.'"
- Sinceriously.
"How much does he love Yoko?
'Much more than I love the Queen.'"
Let's record it all this afternoon, now.
The show on Wednesday,
which is up on the roof, we can get, uh,
no worse than a 4-shot on the roof
out toward London,
- which I think is worth it.
- Yes. How much does it cost?
Well, just send the helicopter up.
No film.
- It's too much, film and a?
- Helicopter.
Uh, what do you say, lads?
- Have it on Paul!
- Yeah.
- Yeah.
- Yes.
- Is that a yes?
- That's a no-no.
One, two, three, four.
Not too loud though.
It's nice, quiet. Oh, yeah.
It settled into it, though, after where
we started in, but much, much faster.
One, two, three, four.
Bit faster, do you think? Bit faster now.
One, two, three, four.
Hello.
- Little bit slower.
- It seems it's picking up speed, I think.
Yeah.
'Cause I find myself starting off, going?
We get excited.
And then ended up?
Ah, this here's the story
about Sweet Loretta Martin
and Jo Jo McCartney.
All right, boy. All right, John.
I've gotta call order, John.
- All right, Paul.
- You know, valuable time here, son.
Cool down, son.
Don't let me down, babe.
- They can afford it.
- Costing EMI. We're EMI artists, man, no?
- ?together at the beginning.
- You were very good, Bill.
What are you gonna do?
- Play it again.
- Sing a bit.
- J?
- Just keep 'em. Keep 'em.
- Do another one?
- Yeah.
Well, tell us if you think
we've got it, you know?
Well, yeah.
Let's keep doing them then, you know?
'Cause if we keep doing that
and going in and then saying, "Oh."
I think you ought to do
something else, 'cause I think you might--
If you keep doing it,
you'll go stale on it.
- No, no. Let's do it.
- You can always go back to it.
- Do you want your head kicked in?
- You know what I mean, though.
- Do you wanna do it once more then?
- Yes, yes.
At least once more.
We'll never get a chance to do it again.
It is the final
performance. You've got an audience now.
Okay, honeybunch.
Let's hit it one time, tutti-frutti.
One, two?
That last take was extremely good though.
Okay. Keep it extremely good then.
We'll carry on.
Why not go straight into
another number then?
We were trying to go into
"Don't Let Me Down" if we made it,
but we haven't made it once yet, you know?
We think of everything and we're
even gonna go on to "I've Got a Fever."
If we really know.
In that case,
I'm gonna change tape.
Are you? Okay.
Was the other one before better than that?
Yes. There was one better than that
earlier on. Hang on, we'll just?
The one before this was better for me.
Should we have another ciggy,
another cup of tea, or?
- Okay, yeah after this.
- ?ciggy after the wine.
Oh, ready? One, two three, four.
There's one where everything was right?
- What's the next reel?
- ?except the last bit of my guitar solo.
Well, remember the one before that
that we all said was all right?
- Yeah.
- That's Take 11.
You can always edit.
- Yeah, I'm just getting it.
- Edit?
You're talking to the Bootles.
Yeah, right. Now, see the thing is,
we need another week to do it.
Miles out, aren't we?
- Tune.
- Yeah.
It was A, Bill.
Billy, instead of giving us,
like, one note, give us a riff like?
That's easier to tune to.
- Hold up. Hold up.
- Okay. Let me just--
Not giving 'em that!
Oh, fucking right.
Something happened.
I don't know what it was though.
Something happened.
Glyn? What does that sound like?
- What?
- Yeah.
- All right?
- Yeah.
- Not bad.
- Got it.
- Oh, the last two will do me.
- That's what I thought.
- It was just about diabolical enough.
- You see, the thing is?
I don't feel as though
I'm singing it any good.
- The other day I was singing better.
- 'Cause you're standing up.
- And you're trying to do a thing.
- Maybe.
You should sit down.
- Enjoy yourself.
- Yeah.
Maybe. No, but even so today,
I just feel as though?
Hobson's is a bit?
That reel on?
We've still got a lot more songs
we haven't even rehearsed.
The two slow ones we're doing,
"Mother Mary" and? "Brother Jesus."
- Have we recorded?
Have we recorded the "Mother Mary" one?
Haven't happened yet, have they?
- No.
- Haven't they?
- One has. One has.
- Well?
- Which one?
- I can never get it.
- "Long, Long, Winding"--
- "Long and Winding Road"?
"Long and Winding Scrotum."
- Really?
- I think it's very tasty.
Tr?s tasty, in fact.
Oh, the little version we had--
- He's so good for your morale, this boy.
- Yeah, yeah.
- No, really.
- We can do--
- I'm not saying you can't do it better.
But, I mean, it's very together.
See, that's a bit like the old "Get Back."
It's together
until you think you can do it better.
We should arrange what's happening
around lunchtime tomorrow.
John's got something at 1:30,
and so have I.
I'll take these tonight.
You can have a mix of these tomorrow.
- I'm meeting a fella.
- Oh, right.
No, uh, at 1:30 though.
We're both going at 1:30, so can you?
We'll do something, all right.
I'll do Ringo at 1:30.
- Let's say 12:00.
We'll be coming in before 1:30?
- Yeah. Coming in at 11:00.
- Okay.
Then work till 1:30.
Okay, honeybunch. Let's hit it one time.
- What time are you starting?
- 11:00.
- 11:00 to 1:30?
- 10:30, yeah.
Dig, man.
And then how long
are you having off from 1:30?
Till 3:00. Good night, everybody.
- Good night, Rich.
- Good night, Richie.
- I think I'm gonna go.
- Will you?
I think the one you said was best?
- Nine?
- ?is best.
Yeah. But it still doesn't make it.
- We'll keep it anyway.
- Keep it in.
- Good?
- Yeah.
- Right. New reel.
Well, the air-conditioning works.
- God, feel like I'm in the army.
- It must be terrible.
That was the only good thing
about being a girl.
Can you imagine being drafted to Vietnam?
George,
of the ones they've done so far,
which do you think we can do on the roof?
- Anything without the grand piano.
- Oh!
- Morning.
- You're embarrassing me.
Should we write down
what we could do on the roof?
You haven't got
a concise list of titles, have we, Alan?
- No. I can make one.
- Well, I?
One is "I Dig a Pony."
We can do that on the roof.
"Let It Be."
Which is "Let It Be"? Oh, no.
I think "Let It Be" should be down here.
Yeah, with the piano on that.
Is anyone sort of
thinking of this like making an album
or more like sort of
doing a lot of numbers then
to be able to play them all
one after the other?
Let's pick the five--
Uh?
I don't see much point in doing
"Don't Let Me Down,"
"I've Got A Feeling" and that now.
Yeah?
'Cause you lose it.
So let's pick up on the ones
that are all in pieces.
I'm trying to get us to do
one of George's for the first batch.
Oh, ah. Yeah.
Then you can have the next one,
"Did you know, missed the show?"
What could it be, Paul?
- "Something in the way she moves."
- Hmm?
What attracted me at all?
Just say whatever comes
into your head each time.
"Attracts me like a cauliflower,"
until you get the word, you know?
Yeah, but I've been through this one,
like, for about six months.
We could have that.
"Attracts me like a pomegranate."
"Cauliflower" is better.
- Okay.
- What was that?
Yeah, but say we got
a really good one of "Love Me Do."
- Well, yeah. That's true.
- Yeah. Okay.
Is it 1:30? I've got this--
to go to this meeting.
So, can you do it?
Will you ring down for us?
And we'll keep going through this.
Yeah. Okay.
Shall we do it?
- Glyn?
- Send an engineer.
Glyn.
Can you come and fix my microphone?
It keeps falling down.
See, can I change from going?
Because I can't do it.
I go into that folk bit.
Have a ciggy, Billy.
Two, three, four.
I'll sing it a bit different than that.
I'll sing?
- All that bit.
- Yeah.
Okay.
Should we go from the last verse again?
That's the bit still, isn't it?
I still think that--
I'm not sure about that syncopation bit,
but leave that to Paul.
Well, that's okay if we just do it
in between, you know, where the riff?
Uh?
It seems to be going
through every verse now.
Yeah, that's the riff. Goes?
- I mean that?
- It should change.
No, that just comes at the end.
Oh, in the middle of every verse?
But also we need somebody that's gonna
tune everything in here to one pitch.
Uh, the piano people do that.
Okay, well,
we'll play about for a bit then.
- How do you tune an electric piano?
- I don't know.
There's got to be a way though.
Probably here somewhere.
What did you wanna talk about?
Uh, well,
just that I saw Klein, and that.
- Oh, Klein?
- Yeah, yeah. Klein.
- Allen Klein.
- Oh, I see.
Yeah. And it's--
You know, it's very interesting.
Yeah.
- You know, from a lot of angles.
- Hmm.
And the-- But I want to tell you
all at once, you know, so as it's not?
But just, um--
I just think he's fantastic.
- Really?
- Yeah.
A lot of interesting news
that we don't know half about,
- just about--
- About us?
Well, I'll tell-- You know,
he'll tell you all that, 'cause it's?
You know,
he knows everything about everything.
Very interesting guy.
- I was there till 2:00 in the morning.
- Oh, you went last night?
I went there thinking, "Well, I've got
to see him. I put it off last time."
You know?
I keep hearing about him all these years.
Things that you just?
you can't believe, you know.
Right down to where-- where it's gone,
and how to get it.
So, I, you know-- Well, I didn't
really wanna say it to sort of half o'ya.
I thought,
"He's gonna look after me, whatever."
That's? it's just like that.
And he knows--
He even knows what we're like, you know?
The way he described each one of us,
you know,
and what we've done
and what we're gonna do and that.
But just, like,
he knows me as much as you do.
Incredible guy.
He's got a great idea for Biafra.
He's like--
He says, "I'm a practical man."
And his thing--
You know The Stones' Circus we did?
- So he arranges those things for them.
- Yeah.
All we heard about that
and the-- the-- the royalty from way back?
- Yeah.
- ?they get much more than us.
However many we sell, they cop.
You know, so, The Stones show,
he's gonna make an LP out of it.
They're making a book of it
and everything, of course, you know?
Like, everybody is into that.
And he's gonna, uh, make an LP of it,
of everybody that was on?
to buy food for Biafra.
Yeah, I was telling him
about your idea for that film.
- Oh, yeah.
- The thing is,
I mean, if we took the food to that place,
with the money we've all earned--
He'd do it completely himself,
arrange it all.
I didn't mean to get into all this,
but he's so fascinating.
Do you want to do this one more time?
- Yeah.
- Eh?
'Cause I'd like to learn
"On the Road to Marrakesh" or something.
Or "Mr. Mustard."
Must do another number, I've decided.
Mal, what was the name of that
shoe shop somebody said is in Bond Street?
The good one.
Do you know a good shoe shop near?
There's a lot of shoe shops
in Bond Street.
Yeah. But I just want, you know,
like ordinary black leather shoes.
It's just that I never get any, you know,
'cause I'm never in shoe shops.
Do you want me
to bring the bloke over?
If you can con somebody into coming
with, you know, a selection
of black slip-on size eights.
Yeah, okay.
- What?
Where's it from? Who makes it?
- Wow.
- Japanese?
I saw it on the television.
Too much! Whoo.
Nice sound.
- Could you transpose that to D?
- Yeah.
- All on one note, huh?
- Yeah, you can change it.
One at a time. It's a little organ.
That's better.
Yeah. It's too much, man.
I love that song.
That's beautiful. I couldn't?
You've won a prize.
Couldn't have asked for
better. Can we have something else now?
Another song, right. Okay, George?
How about, uh?
What have you got up your sleeve, John?
How about "Love Me Do" again?
What about "Don't Let Me Down"?
That's a bloody good one, that.
Very high though. But never mind.
We'll practice the backing.
- What is it now?
- Just--
"And if somebody ever loved me
like she does," that's all.
Just the "really" out.
Same guitar?
Okay, George. Come on.
One?
The Krishna Christmas club.
A little bit of a tune-up, I think.
No, I don't think so, George.
Yeah, John. Don't, John. Don't.
I've had some wine, you know?
Remember Bob Wooler.
Fucking right.
Peace on Earth.
"Don't Let Me Down the Road Again Blues."
"Short, fat Fanny, you're my desire."
One, two, three, four.
Allen Klein's here.
Where's he gonna be?
Should we go up to our room?
- Yeah.
- Oh, fuck it.
- Morning, Michael.
- Morning, R.S.
How many numbers do you think
you'll have by tomorrow at 1:00
- before you go up on the roof?
- About six.
Yes, it's gonna be great.
Yeah.
Yes.
Mmm.
Tomorrow, with the nine cameras,
if we do tomorrow,
there is a kind of,
"Something will happen."
No, it's the best bit of us,
always has been and always will be,
is when we've got--
when we're backs against the wall
and we've been rehearsing,
rehearsing, rehearsing.
And he knows it's a take on the dub.
And he does it great.
No, the organization
has gotta come from either you
or from you doing an audience.
But that's not true, you see?
There is a difference.
- Like when we came here from Twickenham.
- Mmm.
It's a whole other thing, you know?
If we went into a TV studio now,
in one of those big, bare TV studios
and you sat us down,
just with our songs and amps,
we'd do 'em and we'd do 'em great.
I think what we need is
an audience of some sort.
Either a surprise audience--
Tomorrow, or, uh? I'll light my cigar.
If we've got like everything set for
tomorrow, we just go ahead and do it and--
The roof is like too far out.
If we do an open air thing?
That's-- that's really all
I can say about this whole scene.
We should learn all the numbers.
All of them.
All the ones that are gonna be
on the album.
I know it literally takes a bit more time.
That's why I wanna
go through with you today, the ones--
But we haven't got the end thing.
I've got a feeling that
we're gonna just, sort of, go off?
We're just gonna go off like we did
after the end of the last album.
And just sort of think,
"Oh, not another fucking album."
You know? Because this is--
this is what this is, you know.
- I can't wait to work it, you know?
- Yeah.
But it's like we got much better takes
after we moved from Twickenham to here.
Oh, yeah,
but I mean here I like. It's like home.
But, like, we still haven't got
any aim for it, except an album again.
- Yeah.
- Our only aim ever is an album, you know?
Which is like a very nonvisual thing.
But albums is
what we're doing at the moment.
I mean,
you gotta be sneaky with The Beatles,
or else we'll just go on forever
in a circle, you know?
Whenever we talk about it,
we have certain rules.
Like George saying, "What do you
wanna do?" And he says, "No films."
You know, but it's wrong, that.
It's very wrong, that.
Because you don't know.
He says-- What he means is,
no Help, Hard Day's Night.
'Cause this is a film.
And he now he doesn't mind this.
It's us going silly again.
See, it's like when we came
back from Hamburg,
and did Leicester, De Montfort Hall
and we had the worst first night thing,
and we're all nervous,
and it was terrible.
Then we played another the next night.
We just went right into it.
We're good at that
once we get over the nervousness.
But it's like there's the hurdle
of that nervousness is there now.
Yes, but for who is
tomorrow the day? Not for me.
You know, it's like there's this thing
where there is a show to be had
out of what we've got here,
which is just so incredible.
That's unbelievable.
And you don't have to go on the roof.
You don't have to go anywhere.
- You really only have to sing 'em.
- Well, even if we stay here--
This business of
a deadline though is up to you really,
because we've given you deadlines already.
Yeah, well, that's why
I'm talking to John, not you.
The easiest way to finish the show,
is just to sit here for another few days
and start rehearsing them one after
the other and do three numbers at a time.
And like George said, get a program
of where we're gonna do 'em,
what's gonna follow what.
And just start playing them right through.
And then just knock it off.
Like you used to, and have
all your titles on your guitar, you know.
Yes, yes. I mean,
I thought that's what we're doing.
It's just that
you say you're not ready.
We're not ready, yeah, sure.
We're not ready to do 14.
See, the only trouble is, we really have
to want to do a show at the end of it.
That's the thing. That's the trouble.
None of us have an aim.
We don't have a thing
at the end of it that we wanna do.
We could have had a De Montfort Hall show?
This would have been De Montfort Hall
if we'd have done
the dress rehearsal here.
And get over the nervousness
of an audience,
and stop, sort of, playing to show off
to them and--
Just play it.
Yeah. Yeah.
The voices are going in my head,
which way we're gonna-- which way we are--
What's your, sort of, practical answer
to the problem now, regarding tomorrow?
I think we'd be daft just not to do it--
- Well, try and do something tomorrow?
- Sorry I'm late.
?even if it's a grand dress rehearsal,
and see how it went.
- Morning, George.
- And then, you know?
I mean, if we had another six weeks?
Six weeks.
I mean, you know,
if we had another month to play with
to really, I think,
get 14 straight off, it'd be nice,
you know, to still do the seven we've got.
- Do you plan on playing the?
- What, what?
I just don't-- You know, I think
it's gonna take months doing it like that.
So how do you think we should do it then?
You can film some
while we're recording them
at the same time, okay, but--
Yeah, see,
that's what I wanna get in me head.
Is it a documentary of us
doing another album? Which it is.
Except,
we're doing them one after the other.
No, but, I mean, we're not doing a payoff.
We're not doing the 11 numbers
straight off for an album.
We're gonna have to, sort off, join 'em.
I agree with that.
I think it's disappointing but, all right,
we've only got to seven. Let's do seven.
Yeah.
'Cause otherwise--
We haven't enough time to do 14,
'cause Ringo's gotta go, you know?
But we might be able to get another seven
off by the end of two weeks.
I mean, we will, but?
The only trouble is that the only people,
like, who need to agree on what it is
we're doing is the four of us,
and we're the only ones
who haven't even talked about it.
Because we had the meeting
before all this and said, "TV show."
That's what I've gotta get in my head.
It's an album.
All that footage of film
which could make about half a dozen films.
Yeah. It's a film of us making an album.
Yeah, but that's visual.
Yes. Yeah.
Yeah. I've got no complaints about it.
But I just gotta get that in my head.
This TV show was supposed
to be a TV show of the last album.
- The last album?
- Yes.
But when we came to do it we said,
"We'll write new songs."
'Cause that's it, you see.
We always--
We never--
We always get ahead of ourselves.
The thing is that, like, yesterday,
which wasn't a particularly good day,
and the day before, which wasn't
a particularly good day either.
Mmm.
The reason is obviously
the fact that you're playing
the same three or four songs
for a week or whatever,
you know,
and you're flogging them to death.
Obviously you're getting bored
with them, you know, like,
- it can't be any other way.
- Yeah.
That was why George and I were trying
to get you yesterday
to do three in one go,
straight through, so you had to think,
"Oh, yeah, what's the key?
Why isn't it right?"
How many have we
already recorded good enough?
None.
None? Well, what about all those
times we've done "Get Back"?
Oh, well, I mean,
one of them's all right, isn't it?
There's that one of yours we did.
And "Get Back."
But they're at a stage
where it's dress rehearsal stage,
- Yes.
- Where if you did a performance,
it probably would be it.
- Yes.
- Yesterday you got terribly close to it
on a couple of the numbers
you were trying to do.
- One more take and you've had it.
- It's just physical tiredness on my part.
You know, it took great strain
to get through "Don't Let Me Down"
and the other one.
Just physically singing at that pace,
I'm being so tired.
Well, that's the thing,
if you're planning on working up
till Ringo does the film,
doing it like this,
you know, we're just gonna drop.
I think-- I think yesterday?
- At least we could've recorded all those.
- Was the result of not having the weekend.
If we hadn't had the weekend, we wouldn't
have been able to even attempt yesterday.
That's the paradox.
But if we had just
been recording them, you know?
And at the moment
the documentary is really like No Exit.
It's just going around and around
and around with no payoff.
There's no story.
There's a lot of good stuff
that we shot in the documentary,
but there's no story yet.
Now I know how to get
this TV show together in about a week.
But I can't do it with you.
I can't produce you.
- Neither can anybody else.
- No, right.
'Cause we don't allow it, you know.
We don't allow people
to come and say, "You do that."
That's why I'm creating
artificial frameworks for us to do it--
We've got a lot of good stuff,
like with some of the days at Twickenham.
We've got great stuff, counterpoint thing.
But at the moment haven't got an ending.
See, 'cause they've got the film,
you know.
- I just wanna get out now.
- Yes.
We've done the film.
We've done the numbers enough, you know?
And we begin together--
But, I mean, if George wants to think
while we're doing it
that he's making a record.
- Yes.
- And you wanna think we're rehearsing.
It makes no odds, you know.
So we've gotta decide
that we mustn't then go on "Get Back"
for three hours.
Or else I really feel like
I'm trying to produce The Beatles,
and I know it's hopeless.
I just can't do it, you know.
And no one can do it
'cause the four individuals
are too strong individually.
- Yes, we know.
- So you want us to record these songs?
Yeah. Get it together now
instead of talking about the show.
Get it, so that we've got 14 songs.
We're talking about
this abstract thing we hope to get,
and by talking about,
we're not getting it.
Okay, let's do it.
But, man, physically, yesterday
we tried to learn the next half.
But physically we were too tired.
- That's all it was.
- Yeah, that's right.
And we're trying to do what you're saying,
and we might have done
what he was saying at the same time,
but we couldn't do it 'cause we're tired.
- That's all.
- Yeah.
So we had--
We might have had a bit more sleep--
You mean you're still expecting us to be
on the chimney with a lot of people,
or something like that?
Well, anyway, we won't worry
about that. Don't give us that one.
"Expecting" is not a word we use anymore.
Uh, "thinking about."
- "Praying"?
- "Praying. Hoping."
Uh? well, now,
what about the roof tomorrow?
- Do you wanna collectively do it or not?
- No, let's--
Let's-- Let's decide on that,
sort of, a bit later.
Let's us keep off that.
- We'll do the numbers, you know?
We're the band.
- "You're fucking right."
No, you know, I-- You know, whatever.
I'll do it if we've got to go on the roof.
- You're the band now?
- You know, I mean?
You would like to?
Very diverse people.
- One second.
- But, I mean if? See, I don't mind?
- That's all right. We won't discuss it.
- ?if anybody doesn't wanna go on it.
- It wasn't that I--
- So what songs have we got?
Have we got a sort of list
of what we've got, 'cause--
A lot of them are?
I mean, there's too much of a list there.
- But there's certainly everything here.
- Okay.
"I've Got a Feeling,"
"Don't Let Me Down," "Get Back."
- Don't know what that is.
- "I'd Like a Love That's Right."
"Long and Winding Road,"
"Let it Be," "For You Blue."
- I love "Yer Blue."
- "Two of Us," "All I Want is You,"
"Across The Universe,"
"Maxwell's Silver Hammer."
- "Route 999."
- "One After 909."
- "One After 909."
Listen, there's no surprise numbers
even in this.
Surprises?
I mean, there's nothing that'd throw us
to do it straight.
"Bathroom Window," "Teddy Boy."
We haven't gone through
"Maxwell's" since Twickenham.
No. "All Things Must Pass."
That's lucky 13.
There's "Dig It", as well,
which is very long.
It's like all these new ones
we've gotta do
to make up the number don't exist.
- Right.
- Great.
We've got 'em all.
And you've got the live album.
- Yeah.
- If you wanna do it, if we just find out--
We should just collect
all the thoughts on these
and just check through every song,
like to know, say, make sure you know
all the chords, I know all the bass notes.
Are we having lunch soon?
- See you later.
- Ta-ra, girls.
See ya.
John, I'll tell you
what I'd like to do.
Um?
You know, I've got so many songs
that I've got me, like,
my quota of tunes
for the next ten years or albums.
I'd just like to maybe do
an album of songs.
- Yeah.
- Yeah.
But, I mean,
I'd like it so that if, uh?
'Cause it would be nice. It would be nice
to mainly get them all out the way.
Yes.
And secondly, just to hear
what all mine are like all together.
Yeah, but it'd be nice if
any of us can do separate things as well.
That way it also preserves this,
the Beatle bit of it, more.
Because then--
Have an outlet
for every little note you want.
You know,
'cause all these songs of mine,
I could give to people
who could do 'em good.
But I suddenly realized,
"You know, fuck all that.
I'm just gonna do me for a bit. You know?"
- That's the real thing.
- It's great. That's a good idea.
And, you know?
This one.
- Take it.
- Yes, sir.
I'm going home.
A, B, C, D, E, F, G,
- H, I, J, K, L, M, N, O, P?
- Greta Garbo.
- ?Q, S, R, T.
- Greta Garbo. Greta Garbo.
Greta Garbo.
No, that's not.
Put the ones we know in a hat.
Shuffle them out
to see which order we do 'em in.
We'll all be here bright and early.
11:30.
We're all sleeping at George's tonight.
Get in the mood.
We're all ready for tomorrow.
So you're doing the show
on the roof tomorrow?
Oh, sure, Albert Hall.
Sure. Five o'clock. See you there.
Mm-hmm.
- You'll go as well?
- Yeah.
I think John and, uh, Ringo
are on the roof.
In a green bag on the roof.
Who knows, Yoko?
Supposed to be, yeah. Yeah.
- Okay.
- Oh, yeah. Let's do that.
Go on the roof.
- Good night, Mike.
- Seven come 11. Good night.
- The others are from?
- Good night.
- Good night.
- Good night!
From your show.
- Night, George.
- Good night, George!
Good night, Sir Richard.
I'll be here tomorrow
to film in the church.
And then Tony and I
are gonna split downstairs.
-
- Yeah?
Would you like to go up
when you're ready?
- What time is he expecting you?
- You can give them to Debbie.
You know, it's exclusive.
It's gotta work for whoever does it.
Thank you.
Let's get a camera
down in the hall now too.
Yeah, I heard about that.
- Yes.
- Is that the same kind of?
Okay, hold it.
Three, two, one. All right.
Hi. Can we come in?
- Who you here for?
- Tony Richmond. Is he--
There's a special lead
that goes under.
Tony's ready, isn't he?
Uh, with cameras?
- Yeah.
- Yeah.
Okay. Let's go.
- Is it running?
- Yes.
- We're running.
- Running.
- What's going on?
- All right.
All cameras, take one!
Where's the best way
out of the way?
Over here, I think.
- Yeah, you would think that.
- With Maureen.
See, you can never tell
what he's doing.
Sorry.
- Hey.
- You know you're around back.
Which is you here.
- We may find--
- All right, yeah?
- It's a bit cold, isn't it?
- What's going on?
It's, uh, great.
- You're all right playing there?
- I don't know.
- Good shot there.
- Yeah.
Where's the instruments?
- Mal?
Nailed me down in the wrong place.
That's the last of it, yeah.
The three-- First, second and third.
- First of all, that seems to?
- I think if we have some?
Are you sure?
We've worked that out.
- Let's set them up.
- Yeah.
There's piping along there.
That's where you put them back in.
Yeah, well that goes in here.
- That should do it, really.
- Yeah.
- What's that? A perfect fit.
- Yeah, man.
What is it?
Hands are getting the feel of it.
It's gotta be like it is.
Just record the song.
Glyn, are you getting this down there?
- Oh, it's right-handed.
- Is it?
- Yeah.
- Kevin?
- I missed the start. George--
- Just look down. Must have had a few.
- Well, they're gonna hear it.
- Final checks. Roll sound.
- Right.
One, two, three, four?
- Rolling.
- Rolling. Is the door shut?
- Come on.
- We're good to go.
- Glyn, this one?
- No.
The one at the bottom of the spirals.
It's gotta be wedged.
- Get the clapper.
- Come on, you idiot.
Get the clapper here.
- Okay?
- Okay.
Okay.
One, two, three, four?
Yeah.
Whoo-hoo!
- Thank you very much.
- Thank you very much.
It looks like
Ted Dexter has scored another.
We've had a request
from Martin and Luther.
We need more voice on the PA, yes, Glyn?
- No, we don't need any more.
- That's all right. Hello? Hello?
Glyn, any more voice on the Fenders?
Do it there.
- What?
- Do it from up there.
No, they would have had
to turn off the whole roof.
Okay, cut it.
Mike, have you cut?
- Yeah, we'll cut.
Where's the noise coming from?
It's coming from the roof.
Do you know who it is?
Yeah, The Beatles, ain't it?
Yeah.
You like it?
Yeah, it's okay.
What do you think of it?
It's The Beatles.
Oh, I think jolly good.
Enjoying it?
Yeah, very much. Nice, bright thing
to see at the end of the day.
Do you like the idea?
I don't know
what they're supposed to be doing.
- Right, stop--
- All cameras, three!
Okay. When you're ready, guys.
All right, Billy.
One, two, three, four.
Get back, Jo Jo.
Go home.
Yeah.
You could say so, yes.
I think they're great.
Get back, Loretta.
Yeah, go home.
Your mommy's waiting.
In her high-heel shoes
and her low-neck sweater.
Get back, Loretta!
Whoo!
I think it's marvelous. Yes.
Beatles, I think.
Oh, get back home.
Never more to roam.
On the roof?
It's The Beatles, isn't it? Yeah.
It's Paul McCartney singing now.
Well, it was. Yeah.
Okay. Well, thank you,
ladies and gentlemen.
We've had a request
from Daisy, Morris and Tommy.
- "Don't Let Me Down."
- Okay.
This type of music
is all right in its place,
but I think it's a bit of an imposition.
First of all, it's too loud.
Absolutely disrupts all the business
in this area.
I think it's great!
Who is this? The Beatles?
I think it's fantastic.
Don't let me down.
That's right.
Whoo-hoo!
- That was so hard.
Hey! All right!
No, no, no, no.
Peace on Earth!
- Alan.
Ringo?
- Are the cameras still running?
- Yeah.
Just stick your snare drum mic
back over the snare drum.
Sir, we must have
your comment. What do you think of it?
What's going on?
- It's The Beatles.
- What gives? What's happening?
They decided to play
for the public for nothing.
Well, that's great.
It's a bloody stupid place
to have a concert.
Nice to have something for free
in this country at the moment, isn't it?
- Don't you like The Beatles?
- No.
- No?
- No.
Not at all?
Not now. They've changed completely.
The Beatles are doing
a free concert on the roof.
- Now?
- Yeah. What do you think of it?
I think it's very good.
Why aren't they doing it in the street?
They just thought you'd wanna hear it.
Yeah, well, we'd also like to see them.
I just can't see that it makes sense.
Well, I think it's a very good thing.
It woke me up from my sleep,
and I don't like it.
All cameras, four!
One, two, three.
Make sure you don't lean on that.
I can't see what to do.
- Oh.
- "Dig A Pony."
I'll have to get the words then.
- "Dig A Pony."
- "Dig A Pony."
- I don't know. It's just, uh--
- Just ask Mal to hold 'em.
Yeah.
- Kev.
- Kevin?
Come here.
Can you hang on?
Well, I'll ring you back later, all right?
Thank you very much.
We can't use City One Reserve.
Charming, innit?
- Jimmy?
- Hmm?
Have a Sweet Afton.
Thank you. Don't mind if I do.
Rolling.
Are you all ready?
Yeah? Okay. Are we rolling?
- Yeah.
- Okay.
- One, two, three!
- Hold it!
One, two, three?
Yeah, so why is it on the top of the roof?
All that money they've got?
No, I have no idea.
But it sounds really wonderful.
Yes.
Yes.
Oh, yes.
- Yes, I do. Yes.
- Yeah, I think it's a good idea.
Yes.
Thank you, brothers.
My hands are getting too cold
to play a chord now.
- Turn on the PA too.
- Okay.
- Shall we do "Can You Dig It"?
- "Can You Dig It"?
- I don't know.
What's happening?
The Beatles, obviously.
- Fabulous. Lovely.
- Definitely. Fantastic.
- They're all a few lads.
- Yeah. Get around, don't they?
- I said they get around.
"Misery."
That's the one, I think.
- That it?
- That's it. Lovely.
Anywhere where I could
have a listen to this?
Yes. Very much. Yes.
Yeah. It's great.
Um, I think Ringo.
No.
No.
Yeah.
Yeah. I think they're good.
Okay. Glynny.
Are you ready, Glyn?
- Running.
- Turnover, Mike.
Can we scratch that?
- Tuning.
- Running. Ready?
Okay, okay.
Not in the street, no.
- Oh, yes. Yes. Very much.
- You do?
No, my son does.
Oh, yes. My daughter does.
My son would.
He likes all that, but not me.
Yeah, we'll come upstairs.
Yeah.
- One, two, three, four.
- "And For The First Time."
- Oh!
- No, no, "Don't Let Me Down." Sorry.
Rock and roll!
You too!
- Whoo!
Whoo!
Whoo!
Yeah, that's right.
Yes.
Yeah.
It's off.
Whoo!
Whoo!
Yeah!
Whoo!
Get back.
- Thanks, Mo.
- I'd like to say thank you
on behalf of the group and ourselves.
I hope we passed the audition.
All right, boys.
Get in here. Step aside, there.
You all right?
Come. Get in there. Come on. In there.
What's the matter? Everything all right?
Hmm?
Get some more cover there.
Film through the office windows.
Okay.
People on the roof. Everything.
Stay there, girls. Stay there.
Thank you.
Okay. As soon as
you got the cover, that's a wrap.
Let's keep it moving please.
Step off the road, please.
Move along!
Move along, please.
Move along, please.
Off the road, please.
- Come on. Move along.
What's the law say that you--
why you can't do that?
- 'Cause of the PA speakers.
- Disturbing the peace.
- Well, how-- "Disturbing the peace"?
- Peace means like noise.
As Mike was saying,
this is a very good dry run
for something else too.
Apart from the value of this as it stands.
Yeah.
- Yeah, for taking over London.
- Yeah.
- You see, because?
- Top of the Hilton tomorrow.
Blasting out the sound in their power.
- Fantastic.
- Every rock group in the world,
in London, all on the top of buildings.
- Playing the same tune.
- Also on a platform of loudspeakers.
So you're just sort of strapped in
to little boxes in this structure.
What are you feeling about today?
- You wanna work more today or not?
- Yeah.
We should record the others now.
Gotta get the stuff down first.
- Let's have a break for a bit.
- We'll have lunch and that.
And then we record the other stuff
that we didn't do.
- Right.
- Up there. The acoustic stuff.
- Up there?
- No, down here now.
- When I--
- There won't be more rooftops.
No. No more rooftop.
- That was the rooftop.
- It was really bad.
- Oh, right.
- So, it's like--
You know, you're doing this
and we're taking it--
If we got the police,
we could pretend in the film
that we had to get down because of them.
- And here we are?
- Just the way it happened then.
That'll just be it, you know.
This is B camera roll, 1,150.
Slate 500, take one. Slate 500, take one.
Roll mic.
It might have been-- You know.
I don't like to throw things away.
Okay. Ready?
- Okay, turnover cameras.
- Clap it.
Turnover cameras.
Okay.
- Running.
- Turn over.
- Did I ever tell you when I had the--
- Take-- Take ten.
I don't think
I wanna hear that, Dick.
Okay, Jim.
- Good night, Paul.
- Say good night, John.
- Good night, Paul.
- Good night.
Take-- Take-- Take 17!
- Okay, start again.
F-stop.
We'll need one more, actually.
Take 18.
Now what's the chord you play?
- Running.
- Running, Col? Running, Mike?
- Yeah.
- Running, yeah.
- Nice and quiet. Mark it.
Take 25.
- What the shittin' hell is going on here?
Eins, zwei, viertel nach drei.
What the fuck's going on?
I'll never get "Maggie Mae" done
if we go on like this.
Are we supposed to giggle in the solo?
- Yeah.
- Okay.
- Get off, you bum!
- I lost a bass note somewhere.
- Oh.
Let it be.
- Is that the best one?
- I think that was rather grand.
I'd take one home with me.
Yeah, that was fine.
Don't kid us, Glyn.
Give it to us straight.
- Get me off this bass.
- Was that good enough?
- Yes.
- We'll do one more to cover ourselves.
We'll just do one more
'cause we know we've got it now.
We've got so many of the bastards.
A curl?
Didn't you get to bed last night, Glyn?
Sorry. You just look this morning
like you didn't go at all.
- Have you heard the "Octopus" one?
- No.
You learned A minor, then?
That's all I've got.
After the two times, the second time?
Then to get to the G one, a bit, uh?
Let's go from the beginning.
- From the beginning.
- Right.
Then stay on F.
Then that, then this, uh?
What one's that?
Uh--
Just, I mean, something
to sort of get back to where you--
Where we started.
- It's a little bit--
- So it resolves itself.
- Yeah.
Well, I'll have to put words
in that bit, then.
- Oh, drums, right.
I think Paul would wanna do drums,
wouldn't he? With his strong left arm.
I'm not getting on that kit
without a ciggy.
I've never been up here before.
Very strong one.
- Okay!
- I'm a tame tiger. Meow.
- I'm cool with that.
- Are you going to eat them?
- No!
Lots of people do, you know.
On toast?
You put pastry around them,
and you have cat pie.
You better wait a week or two
before you eat them.
- That's very good.
- We'll put on the meat.
Oh, you don't eat them
if they have black spots.
You don't eat them
if they're like tigers, either.
And anyway,
I'm just a pussycat that was just born.
Kevin?
What was the? Do that old gospel ending.
- Sunday morning. Sunday morning. Church.
- Sunday morning. Definitely, yeah.
- And we'll all kneel as we do it.
- We can do a gospel ending that Elvis did.
Yeah.
We all was gonna do it.
- We did it just fine. It was just that?
- Yeah.
I'll tell you one thing.
Do it lighter. Don't do sort of--
Do it more--
And so a bit lighter offbeat, and maybe?
Keep it light.
So it's not going heavy again.
I don't know what you are saying.
Uh?
Hello.
Is anybody?
Let me sing. Hello. Is anybody home?
Hi.
- Aah!
Yoko!
Yeah!
Oh, sorry.
Come on, let it be.
What ones haven't you done yet?
A little thing that goes
something like this.
- No. No.
No, see,
you've gotta wait a lot longer than that.
- You done left me.
- You done left me.
There wouldn't be much drumming,
would there?
Go around a bit, you know?
What?
It sounds a bit like
a sort of dance orchestra.
And the slow foxtrot?
Like Rita and Thomas Williams.
Rita is wearing a dark sombrero
and a beard.
The chord there. I mean--
Her husband is wearing
a crinoline skirt which he made himself.
Still no idea where I come in.
- Off the top of your head.
- John, yours doesn't sound as much?
It sounds like
you're doing too many notes.
- Yeah, all right. Well, it just gets--
- It's too, sort of, regular.
But you're doing?
I've been going?
- You just want the one?
- Don't do that.
No, but I mean, don't do any note there.
Just go?
That's what I'm really doing.
I've been going--
Hello?
Great!
Amazing.
Okay.
One.
When it's mixed, as it is, I'm sure
with a mix on it, it'll be all right.
I know what--
Paul, are you gonna have strings?
- Yeah.
- Well, it's like--
Ooh!
Yeah, there's parts--
There's only parts where
you can hear the electric piano properly,
- or the piano properly.
- Yes.
Most of the time, you know,
like, they mix together.
Yeah. I think it needs,
like, a lot of, uh?
- Cleaning.
- Cleaning, yeah.
Actually,
the thing is, it's a nice feel to it,
but it's rather like
everything else we've done.
And this particular song
doesn't need that.
See, the only way I've ever heard it is,
like, in my head,
- is, like, Ray Charles's band.
- I'm supposed to marry you.
And I don't--
I haven't really even listened to them.
It would be nice with some brass
just doing the sustaining chord thing.
- Yeah.
- Yeah.
- Moving and just holding notes.
- Yeah. We probably, yeah--
- If I pull yours up?
We were planning to do it anyway
for a couple of numbers,
just to have
a bit of brass and bit of strings.
That's what George was saying before.
That's the bit
where The Raelettes'd sing it.
Great. Sorry, man. Oh, that's nice.
That's nice of what?
It's nice of you.
- For what?
- Very nice of you.
- For what?
- Just to come here.
We're going home.
- When?
- Now.
No.
Am I gonna eat now? I'm going back.
She's so worried now.
"I gotta eat for three hours,
then maybe go to bed around 1:00."
You're just going back in your box.
That's where you're going.
- Don't tell. Don't tell.
Aren't I gonna have anything to eat?
Hey, I've got a present for you.
- See you tomorrow.
- Bye.
- Aren't you going, George?
- I said yes, George.
I don't know.
You didn't get the other one?
- No.
- No.
- Well, we'll remember that another day.
- Yeah.
I'm just so high when I get in at night.
I couldn't sleep.
Tea or toast.
- Yeah.
What's this chord, Billy? E with a C?
Yeah. Just loading the E.
- Yeah. That's like E7.
- Yeah.
This one.
- Yeah. Um, E with a raised?
E with a C. E.
- Yeah, E with a C.
- E with a C. What's that?
I've had an E with an F,
which is pretty good.
What's this chord then, Billy?
- It's F, but raising the F to F sharp.
- Yeah. F sharp. Diminished.
And then F with that, like the 7th.
It's great on piano
'cause I don't know anything about it.
Yeah.
But it's great, because I wouldn't have
been able to do that on the guitar.
- Yeah, sorry, that bit comes?
- It does work, the bit--
- But it--
- In the bit before that bit.
Yeah, but then it's, uh--
Then it stays too long on the other one.
- But it's like a natural on there.
- Yeah. Well, you don't know?
- Pianos are very difficult, aren't they?
- Mal? Mal?
The drums are on PA anyway.
When we connect it, I could hear Ringo.
The drums are on PA!
- It's not my idea of a personal assistant.
- No.
Hello? Hello?
'Cause coming from the north of England,
it doesn't come too easy, you know,
all the soul.
- Let's take one now.
Yeah, right.
Ask 'em to put the mics on, will you?
Hello.
And get one for Billy too.
- It's a bit ploddy.
- What?
You know, just--
It sort of plods along a bit. A bit much.
- It's just mourning and slow, slow.
- Mourning and?
And a slow song.
It takes a long time to get out of it.
Yeah.
That'll do for the time being.
"The Wrong and Winding Box."
All those little melodic things, you know?
It's a-- It's a--
It's like the other one, you know.
They're sort of slow, ballady,
and they're plodding a bit.
See, that's the kind of thing. Yeah.
It needs to go like that.
Oh, just a second.
When it goes, um-- On that bit, it goes?
Hang on.
Can we make the bridge?
heavy?
I can't sort of think how to do
this one at all, you know.
Just, mind's a blank on it.
I don't know.
I don't know.
Give up.
It's nice though.
- Have you turned me down?
- No.
It's funny though.
You can't hear the piano either.
We only asked for the piano.
No. I said, "Oh, Ringo is on PA."
A great sound in here
will improve what we do.
No, but I mean, it's like
when we played in clubs in Hamburg.
We sounded great.
So you get?
Let's do that.
It'll help you anyway to begin with.
- Thank you, George.
- You're welcome.
See, 'cause that'd be good
if we could get all that,
get the sound in this room.
It's, like, remember that night
we tried tape echo with George?
On a bit of vocal.
They have bloody big speakers
or something,
to shout through.
They should be
at least as big as a bass amp.
- Yeah.
- Paul.
Yeah.
Thing is, they're both facing
each other for a kickoff.
They're all facing--
They're all right next to the amps.
I mean, get them up there,
they come down to us.
Nail 'em on them sticks up there
and shoot 'em down to us,
and we'll all face that way if you like.
We'll face any way.
Well, then, let's--
I don't know who to tell to do that.
Right, okay.
Yeah. I'll do something about it.
Somehow if we can each hear
what the others are playing.
- Uh?
- Ow!
Just heard that Yoko's divorce
has just gone through.
Free at last.
Did we? "And if"?
Start again.
I've just got written down here,
"If somebody ever loved me."
Oh, I've got, "If somebody
ever really loved me, like as she do me."
Ah.
Maybe we should have,
"I guess nobody ever loved me."
George. George. George.
The layout of the book's
really good, though, the way he's done it.
This is it. Is this the layout?
No, this is just the bit. That bit.
"Beatle John Lennon hugged Japanese
actress Yoko Ono last night and said,
'My marriage is over.
I am in love with Yoko.'"
- Sinceriously.
"How much does he love Yoko?
'Much more than I love the Queen.'"
Let's record it all this afternoon, now.
The show on Wednesday,
which is up on the roof, we can get, uh,
no worse than a 4-shot on the roof
out toward London,
- which I think is worth it.
- Yes. How much does it cost?
Well, just send the helicopter up.
No film.
- It's too much, film and a?
- Helicopter.
Uh, what do you say, lads?
- Have it on Paul!
- Yeah.
- Yeah.
- Yes.
- Is that a yes?
- That's a no-no.
One, two, three, four.
Not too loud though.
It's nice, quiet. Oh, yeah.
It settled into it, though, after where
we started in, but much, much faster.
One, two, three, four.
Bit faster, do you think? Bit faster now.
One, two, three, four.
Hello.
- Little bit slower.
- It seems it's picking up speed, I think.
Yeah.
'Cause I find myself starting off, going?
We get excited.
And then ended up?
Ah, this here's the story
about Sweet Loretta Martin
and Jo Jo McCartney.
All right, boy. All right, John.
I've gotta call order, John.
- All right, Paul.
- You know, valuable time here, son.
Cool down, son.
Don't let me down, babe.
- They can afford it.
- Costing EMI. We're EMI artists, man, no?
- ?together at the beginning.
- You were very good, Bill.
What are you gonna do?
- Play it again.
- Sing a bit.
- J?
- Just keep 'em. Keep 'em.
- Do another one?
- Yeah.
Well, tell us if you think
we've got it, you know?
Well, yeah.
Let's keep doing them then, you know?
'Cause if we keep doing that
and going in and then saying, "Oh."
I think you ought to do
something else, 'cause I think you might--
If you keep doing it,
you'll go stale on it.
- No, no. Let's do it.
- You can always go back to it.
- Do you want your head kicked in?
- You know what I mean, though.
- Do you wanna do it once more then?
- Yes, yes.
At least once more.
We'll never get a chance to do it again.
It is the final
performance. You've got an audience now.
Okay, honeybunch.
Let's hit it one time, tutti-frutti.
One, two?
That last take was extremely good though.
Okay. Keep it extremely good then.
We'll carry on.
Why not go straight into
another number then?
We were trying to go into
"Don't Let Me Down" if we made it,
but we haven't made it once yet, you know?
We think of everything and we're
even gonna go on to "I've Got a Fever."
If we really know.
In that case,
I'm gonna change tape.
Are you? Okay.
Was the other one before better than that?
Yes. There was one better than that
earlier on. Hang on, we'll just?
The one before this was better for me.
Should we have another ciggy,
another cup of tea, or?
- Okay, yeah after this.
- ?ciggy after the wine.
Oh, ready? One, two three, four.
There's one where everything was right?
- What's the next reel?
- ?except the last bit of my guitar solo.
Well, remember the one before that
that we all said was all right?
- Yeah.
- That's Take 11.
You can always edit.
- Yeah, I'm just getting it.
- Edit?
You're talking to the Bootles.
Yeah, right. Now, see the thing is,
we need another week to do it.
Miles out, aren't we?
- Tune.
- Yeah.
It was A, Bill.
Billy, instead of giving us,
like, one note, give us a riff like?
That's easier to tune to.
- Hold up. Hold up.
- Okay. Let me just--
Not giving 'em that!
Oh, fucking right.
Something happened.
I don't know what it was though.
Something happened.
Glyn? What does that sound like?
- What?
- Yeah.
- All right?
- Yeah.
- Not bad.
- Got it.
- Oh, the last two will do me.
- That's what I thought.
- It was just about diabolical enough.
- You see, the thing is?
I don't feel as though
I'm singing it any good.
- The other day I was singing better.
- 'Cause you're standing up.
- And you're trying to do a thing.
- Maybe.
You should sit down.
- Enjoy yourself.
- Yeah.
Maybe. No, but even so today,
I just feel as though?
Hobson's is a bit?
That reel on?
We've still got a lot more songs
we haven't even rehearsed.
The two slow ones we're doing,
"Mother Mary" and? "Brother Jesus."
- Have we recorded?
Have we recorded the "Mother Mary" one?
Haven't happened yet, have they?
- No.
- Haven't they?
- One has. One has.
- Well?
- Which one?
- I can never get it.
- "Long, Long, Winding"--
- "Long and Winding Road"?
"Long and Winding Scrotum."
- Really?
- I think it's very tasty.
Tr?s tasty, in fact.
Oh, the little version we had--
- He's so good for your morale, this boy.
- Yeah, yeah.
- No, really.
- We can do--
- I'm not saying you can't do it better.
But, I mean, it's very together.
See, that's a bit like the old "Get Back."
It's together
until you think you can do it better.
We should arrange what's happening
around lunchtime tomorrow.
John's got something at 1:30,
and so have I.
I'll take these tonight.
You can have a mix of these tomorrow.
- I'm meeting a fella.
- Oh, right.
No, uh, at 1:30 though.
We're both going at 1:30, so can you?
We'll do something, all right.
I'll do Ringo at 1:30.
- Let's say 12:00.
We'll be coming in before 1:30?
- Yeah. Coming in at 11:00.
- Okay.
Then work till 1:30.
Okay, honeybunch. Let's hit it one time.
- What time are you starting?
- 11:00.
- 11:00 to 1:30?
- 10:30, yeah.
Dig, man.
And then how long
are you having off from 1:30?
Till 3:00. Good night, everybody.
- Good night, Rich.
- Good night, Richie.
- I think I'm gonna go.
- Will you?
I think the one you said was best?
- Nine?
- ?is best.
Yeah. But it still doesn't make it.
- We'll keep it anyway.
- Keep it in.
- Good?
- Yeah.
- Right. New reel.
Well, the air-conditioning works.
- God, feel like I'm in the army.
- It must be terrible.
That was the only good thing
about being a girl.
Can you imagine being drafted to Vietnam?
George,
of the ones they've done so far,
which do you think we can do on the roof?
- Anything without the grand piano.
- Oh!
- Morning.
- You're embarrassing me.
Should we write down
what we could do on the roof?
You haven't got
a concise list of titles, have we, Alan?
- No. I can make one.
- Well, I?
One is "I Dig a Pony."
We can do that on the roof.
"Let It Be."
Which is "Let It Be"? Oh, no.
I think "Let It Be" should be down here.
Yeah, with the piano on that.
Is anyone sort of
thinking of this like making an album
or more like sort of
doing a lot of numbers then
to be able to play them all
one after the other?
Let's pick the five--
Uh?
I don't see much point in doing
"Don't Let Me Down,"
"I've Got A Feeling" and that now.
Yeah?
'Cause you lose it.
So let's pick up on the ones
that are all in pieces.
I'm trying to get us to do
one of George's for the first batch.
Oh, ah. Yeah.
Then you can have the next one,
"Did you know, missed the show?"
What could it be, Paul?
- "Something in the way she moves."
- Hmm?
What attracted me at all?
Just say whatever comes
into your head each time.
"Attracts me like a cauliflower,"
until you get the word, you know?
Yeah, but I've been through this one,
like, for about six months.
We could have that.
"Attracts me like a pomegranate."
"Cauliflower" is better.
- Okay.
- What was that?
Yeah, but say we got
a really good one of "Love Me Do."
- Well, yeah. That's true.
- Yeah. Okay.
Is it 1:30? I've got this--
to go to this meeting.
So, can you do it?
Will you ring down for us?
And we'll keep going through this.
Yeah. Okay.
Shall we do it?
- Glyn?
- Send an engineer.
Glyn.
Can you come and fix my microphone?
It keeps falling down.
See, can I change from going?
Because I can't do it.
I go into that folk bit.
Have a ciggy, Billy.
Two, three, four.
I'll sing it a bit different than that.
I'll sing?
- All that bit.
- Yeah.
Okay.
Should we go from the last verse again?
That's the bit still, isn't it?
I still think that--
I'm not sure about that syncopation bit,
but leave that to Paul.
Well, that's okay if we just do it
in between, you know, where the riff?
Uh?
It seems to be going
through every verse now.
Yeah, that's the riff. Goes?
- I mean that?
- It should change.
No, that just comes at the end.
Oh, in the middle of every verse?
But also we need somebody that's gonna
tune everything in here to one pitch.
Uh, the piano people do that.
Okay, well,
we'll play about for a bit then.
- How do you tune an electric piano?
- I don't know.
There's got to be a way though.
Probably here somewhere.
What did you wanna talk about?
Uh, well,
just that I saw Klein, and that.
- Oh, Klein?
- Yeah, yeah. Klein.
- Allen Klein.
- Oh, I see.
Yeah. And it's--
You know, it's very interesting.
Yeah.
- You know, from a lot of angles.
- Hmm.
And the-- But I want to tell you
all at once, you know, so as it's not?
But just, um--
I just think he's fantastic.
- Really?
- Yeah.
A lot of interesting news
that we don't know half about,
- just about--
- About us?
Well, I'll tell-- You know,
he'll tell you all that, 'cause it's?
You know,
he knows everything about everything.
Very interesting guy.
- I was there till 2:00 in the morning.
- Oh, you went last night?
I went there thinking, "Well, I've got
to see him. I put it off last time."
You know?
I keep hearing about him all these years.
Things that you just?
you can't believe, you know.
Right down to where-- where it's gone,
and how to get it.
So, I, you know-- Well, I didn't
really wanna say it to sort of half o'ya.
I thought,
"He's gonna look after me, whatever."
That's? it's just like that.
And he knows--
He even knows what we're like, you know?
The way he described each one of us,
you know,
and what we've done
and what we're gonna do and that.
But just, like,
he knows me as much as you do.
Incredible guy.
He's got a great idea for Biafra.
He's like--
He says, "I'm a practical man."
And his thing--
You know The Stones' Circus we did?
- So he arranges those things for them.
- Yeah.
All we heard about that
and the-- the-- the royalty from way back?
- Yeah.
- ?they get much more than us.
However many we sell, they cop.
You know, so, The Stones show,
he's gonna make an LP out of it.
They're making a book of it
and everything, of course, you know?
Like, everybody is into that.
And he's gonna, uh, make an LP of it,
of everybody that was on?
to buy food for Biafra.
Yeah, I was telling him
about your idea for that film.
- Oh, yeah.
- The thing is,
I mean, if we took the food to that place,
with the money we've all earned--
He'd do it completely himself,
arrange it all.
I didn't mean to get into all this,
but he's so fascinating.
Do you want to do this one more time?
- Yeah.
- Eh?
'Cause I'd like to learn
"On the Road to Marrakesh" or something.
Or "Mr. Mustard."
Must do another number, I've decided.
Mal, what was the name of that
shoe shop somebody said is in Bond Street?
The good one.
Do you know a good shoe shop near?
There's a lot of shoe shops
in Bond Street.
Yeah. But I just want, you know,
like ordinary black leather shoes.
It's just that I never get any, you know,
'cause I'm never in shoe shops.
Do you want me
to bring the bloke over?
If you can con somebody into coming
with, you know, a selection
of black slip-on size eights.
Yeah, okay.
- What?
Where's it from? Who makes it?
- Wow.
- Japanese?
I saw it on the television.
Too much! Whoo.
Nice sound.
- Could you transpose that to D?
- Yeah.
- All on one note, huh?
- Yeah, you can change it.
One at a time. It's a little organ.
That's better.
Yeah. It's too much, man.
I love that song.
That's beautiful. I couldn't?
You've won a prize.
Couldn't have asked for
better. Can we have something else now?
Another song, right. Okay, George?
How about, uh?
What have you got up your sleeve, John?
How about "Love Me Do" again?
What about "Don't Let Me Down"?
That's a bloody good one, that.
Very high though. But never mind.
We'll practice the backing.
- What is it now?
- Just--
"And if somebody ever loved me
like she does," that's all.
Just the "really" out.
Same guitar?
Okay, George. Come on.
One?
The Krishna Christmas club.
A little bit of a tune-up, I think.
No, I don't think so, George.
Yeah, John. Don't, John. Don't.
I've had some wine, you know?
Remember Bob Wooler.
Fucking right.
Peace on Earth.
"Don't Let Me Down the Road Again Blues."
"Short, fat Fanny, you're my desire."
One, two, three, four.
Allen Klein's here.
Where's he gonna be?
Should we go up to our room?
- Yeah.
- Oh, fuck it.
- Morning, Michael.
- Morning, R.S.
How many numbers do you think
you'll have by tomorrow at 1:00
- before you go up on the roof?
- About six.
Yes, it's gonna be great.
Yeah.
Yes.
Mmm.
Tomorrow, with the nine cameras,
if we do tomorrow,
there is a kind of,
"Something will happen."
No, it's the best bit of us,
always has been and always will be,
is when we've got--
when we're backs against the wall
and we've been rehearsing,
rehearsing, rehearsing.
And he knows it's a take on the dub.
And he does it great.
No, the organization
has gotta come from either you
or from you doing an audience.
But that's not true, you see?
There is a difference.
- Like when we came here from Twickenham.
- Mmm.
It's a whole other thing, you know?
If we went into a TV studio now,
in one of those big, bare TV studios
and you sat us down,
just with our songs and amps,
we'd do 'em and we'd do 'em great.
I think what we need is
an audience of some sort.
Either a surprise audience--
Tomorrow, or, uh? I'll light my cigar.
If we've got like everything set for
tomorrow, we just go ahead and do it and--
The roof is like too far out.
If we do an open air thing?
That's-- that's really all
I can say about this whole scene.
We should learn all the numbers.
All of them.
All the ones that are gonna be
on the album.
I know it literally takes a bit more time.
That's why I wanna
go through with you today, the ones--
But we haven't got the end thing.
I've got a feeling that
we're gonna just, sort of, go off?
We're just gonna go off like we did
after the end of the last album.
And just sort of think,
"Oh, not another fucking album."
You know? Because this is--
this is what this is, you know.
- I can't wait to work it, you know?
- Yeah.
But it's like we got much better takes
after we moved from Twickenham to here.
Oh, yeah,
but I mean here I like. It's like home.
But, like, we still haven't got
any aim for it, except an album again.
- Yeah.
- Our only aim ever is an album, you know?
Which is like a very nonvisual thing.
But albums is
what we're doing at the moment.
I mean,
you gotta be sneaky with The Beatles,
or else we'll just go on forever
in a circle, you know?
Whenever we talk about it,
we have certain rules.
Like George saying, "What do you
wanna do?" And he says, "No films."
You know, but it's wrong, that.
It's very wrong, that.
Because you don't know.
He says-- What he means is,
no Help, Hard Day's Night.
'Cause this is a film.
And he now he doesn't mind this.
It's us going silly again.
See, it's like when we came
back from Hamburg,
and did Leicester, De Montfort Hall
and we had the worst first night thing,
and we're all nervous,
and it was terrible.
Then we played another the next night.
We just went right into it.
We're good at that
once we get over the nervousness.
But it's like there's the hurdle
of that nervousness is there now.
Yes, but for who is
tomorrow the day? Not for me.
You know, it's like there's this thing
where there is a show to be had
out of what we've got here,
which is just so incredible.
That's unbelievable.
And you don't have to go on the roof.
You don't have to go anywhere.
- You really only have to sing 'em.
- Well, even if we stay here--
This business of
a deadline though is up to you really,
because we've given you deadlines already.
Yeah, well, that's why
I'm talking to John, not you.
The easiest way to finish the show,
is just to sit here for another few days
and start rehearsing them one after
the other and do three numbers at a time.
And like George said, get a program
of where we're gonna do 'em,
what's gonna follow what.
And just start playing them right through.
And then just knock it off.
Like you used to, and have
all your titles on your guitar, you know.
Yes, yes. I mean,
I thought that's what we're doing.
It's just that
you say you're not ready.
We're not ready, yeah, sure.
We're not ready to do 14.
See, the only trouble is, we really have
to want to do a show at the end of it.
That's the thing. That's the trouble.
None of us have an aim.
We don't have a thing
at the end of it that we wanna do.
We could have had a De Montfort Hall show?
This would have been De Montfort Hall
if we'd have done
the dress rehearsal here.
And get over the nervousness
of an audience,
and stop, sort of, playing to show off
to them and--
Just play it.
Yeah. Yeah.
The voices are going in my head,
which way we're gonna-- which way we are--
What's your, sort of, practical answer
to the problem now, regarding tomorrow?
I think we'd be daft just not to do it--
- Well, try and do something tomorrow?
- Sorry I'm late.
?even if it's a grand dress rehearsal,
and see how it went.
- Morning, George.
- And then, you know?
I mean, if we had another six weeks?
Six weeks.
I mean, you know,
if we had another month to play with
to really, I think,
get 14 straight off, it'd be nice,
you know, to still do the seven we've got.
- Do you plan on playing the?
- What, what?
I just don't-- You know, I think
it's gonna take months doing it like that.
So how do you think we should do it then?
You can film some
while we're recording them
at the same time, okay, but--
Yeah, see,
that's what I wanna get in me head.
Is it a documentary of us
doing another album? Which it is.
Except,
we're doing them one after the other.
No, but, I mean, we're not doing a payoff.
We're not doing the 11 numbers
straight off for an album.
We're gonna have to, sort off, join 'em.
I agree with that.
I think it's disappointing but, all right,
we've only got to seven. Let's do seven.
Yeah.
'Cause otherwise--
We haven't enough time to do 14,
'cause Ringo's gotta go, you know?
But we might be able to get another seven
off by the end of two weeks.
I mean, we will, but?
The only trouble is that the only people,
like, who need to agree on what it is
we're doing is the four of us,
and we're the only ones
who haven't even talked about it.
Because we had the meeting
before all this and said, "TV show."
That's what I've gotta get in my head.
It's an album.
All that footage of film
which could make about half a dozen films.
Yeah. It's a film of us making an album.
Yeah, but that's visual.
Yes. Yeah.
Yeah. I've got no complaints about it.
But I just gotta get that in my head.
This TV show was supposed
to be a TV show of the last album.
- The last album?
- Yes.
But when we came to do it we said,
"We'll write new songs."
'Cause that's it, you see.
We always--
We never--
We always get ahead of ourselves.
The thing is that, like, yesterday,
which wasn't a particularly good day,
and the day before, which wasn't
a particularly good day either.
Mmm.
The reason is obviously
the fact that you're playing
the same three or four songs
for a week or whatever,
you know,
and you're flogging them to death.
Obviously you're getting bored
with them, you know, like,
- it can't be any other way.
- Yeah.
That was why George and I were trying
to get you yesterday
to do three in one go,
straight through, so you had to think,
"Oh, yeah, what's the key?
Why isn't it right?"
How many have we
already recorded good enough?
None.
None? Well, what about all those
times we've done "Get Back"?
Oh, well, I mean,
one of them's all right, isn't it?
There's that one of yours we did.
And "Get Back."
But they're at a stage
where it's dress rehearsal stage,
- Yes.
- Where if you did a performance,
it probably would be it.
- Yes.
- Yesterday you got terribly close to it
on a couple of the numbers
you were trying to do.
- One more take and you've had it.
- It's just physical tiredness on my part.
You know, it took great strain
to get through "Don't Let Me Down"
and the other one.
Just physically singing at that pace,
I'm being so tired.
Well, that's the thing,
if you're planning on working up
till Ringo does the film,
doing it like this,
you know, we're just gonna drop.
I think-- I think yesterday?
- At least we could've recorded all those.
- Was the result of not having the weekend.
If we hadn't had the weekend, we wouldn't
have been able to even attempt yesterday.
That's the paradox.
But if we had just
been recording them, you know?
And at the moment
the documentary is really like No Exit.
It's just going around and around
and around with no payoff.
There's no story.
There's a lot of good stuff
that we shot in the documentary,
but there's no story yet.
Now I know how to get
this TV show together in about a week.
But I can't do it with you.
I can't produce you.
- Neither can anybody else.
- No, right.
'Cause we don't allow it, you know.
We don't allow people
to come and say, "You do that."
That's why I'm creating
artificial frameworks for us to do it--
We've got a lot of good stuff,
like with some of the days at Twickenham.
We've got great stuff, counterpoint thing.
But at the moment haven't got an ending.
See, 'cause they've got the film,
you know.
- I just wanna get out now.
- Yes.
We've done the film.
We've done the numbers enough, you know?
And we begin together--
But, I mean, if George wants to think
while we're doing it
that he's making a record.
- Yes.
- And you wanna think we're rehearsing.
It makes no odds, you know.
So we've gotta decide
that we mustn't then go on "Get Back"
for three hours.
Or else I really feel like
I'm trying to produce The Beatles,
and I know it's hopeless.
I just can't do it, you know.
And no one can do it
'cause the four individuals
are too strong individually.
- Yes, we know.
- So you want us to record these songs?
Yeah. Get it together now
instead of talking about the show.
Get it, so that we've got 14 songs.
We're talking about
this abstract thing we hope to get,
and by talking about,
we're not getting it.
Okay, let's do it.
But, man, physically, yesterday
we tried to learn the next half.
But physically we were too tired.
- That's all it was.
- Yeah, that's right.
And we're trying to do what you're saying,
and we might have done
what he was saying at the same time,
but we couldn't do it 'cause we're tired.
- That's all.
- Yeah.
So we had--
We might have had a bit more sleep--
You mean you're still expecting us to be
on the chimney with a lot of people,
or something like that?
Well, anyway, we won't worry
about that. Don't give us that one.
"Expecting" is not a word we use anymore.
Uh, "thinking about."
- "Praying"?
- "Praying. Hoping."
Uh? well, now,
what about the roof tomorrow?
- Do you wanna collectively do it or not?
- No, let's--
Let's-- Let's decide on that,
sort of, a bit later.
Let's us keep off that.
- We'll do the numbers, you know?
We're the band.
- "You're fucking right."
No, you know, I-- You know, whatever.
I'll do it if we've got to go on the roof.
- You're the band now?
- You know, I mean?
You would like to?
Very diverse people.
- One second.
- But, I mean if? See, I don't mind?
- That's all right. We won't discuss it.
- ?if anybody doesn't wanna go on it.
- It wasn't that I--
- So what songs have we got?
Have we got a sort of list
of what we've got, 'cause--
A lot of them are?
I mean, there's too much of a list there.
- But there's certainly everything here.
- Okay.
"I've Got a Feeling,"
"Don't Let Me Down," "Get Back."
- Don't know what that is.
- "I'd Like a Love That's Right."
"Long and Winding Road,"
"Let it Be," "For You Blue."
- I love "Yer Blue."
- "Two of Us," "All I Want is You,"
"Across The Universe,"
"Maxwell's Silver Hammer."
- "Route 999."
- "One After 909."
- "One After 909."
Listen, there's no surprise numbers
even in this.
Surprises?
I mean, there's nothing that'd throw us
to do it straight.
"Bathroom Window," "Teddy Boy."
We haven't gone through
"Maxwell's" since Twickenham.
No. "All Things Must Pass."
That's lucky 13.
There's "Dig It", as well,
which is very long.
It's like all these new ones
we've gotta do
to make up the number don't exist.
- Right.
- Great.
We've got 'em all.
And you've got the live album.
- Yeah.
- If you wanna do it, if we just find out--
We should just collect
all the thoughts on these
and just check through every song,
like to know, say, make sure you know
all the chords, I know all the bass notes.
Are we having lunch soon?
- See you later.
- Ta-ra, girls.
See ya.
John, I'll tell you
what I'd like to do.
Um?
You know, I've got so many songs
that I've got me, like,
my quota of tunes
for the next ten years or albums.
I'd just like to maybe do
an album of songs.
- Yeah.
- Yeah.
But, I mean,
I'd like it so that if, uh?
'Cause it would be nice. It would be nice
to mainly get them all out the way.
Yes.
And secondly, just to hear
what all mine are like all together.
Yeah, but it'd be nice if
any of us can do separate things as well.
That way it also preserves this,
the Beatle bit of it, more.
Because then--
Have an outlet
for every little note you want.
You know,
'cause all these songs of mine,
I could give to people
who could do 'em good.
But I suddenly realized,
"You know, fuck all that.
I'm just gonna do me for a bit. You know?"
- That's the real thing.
- It's great. That's a good idea.
And, you know?
This one.
- Take it.
- Yes, sir.
I'm going home.
A, B, C, D, E, F, G,
- H, I, J, K, L, M, N, O, P?
- Greta Garbo.
- ?Q, S, R, T.
- Greta Garbo. Greta Garbo.
Greta Garbo.
No, that's not.
Put the ones we know in a hat.
Shuffle them out
to see which order we do 'em in.
We'll all be here bright and early.
11:30.
We're all sleeping at George's tonight.
Get in the mood.
We're all ready for tomorrow.
So you're doing the show
on the roof tomorrow?
Oh, sure, Albert Hall.
Sure. Five o'clock. See you there.
Mm-hmm.
- You'll go as well?
- Yeah.
I think John and, uh, Ringo
are on the roof.
In a green bag on the roof.
Who knows, Yoko?
Supposed to be, yeah. Yeah.
- Okay.
- Oh, yeah. Let's do that.
Go on the roof.
- Good night, Mike.
- Seven come 11. Good night.
- The others are from?
- Good night.
- Good night.
- Good night!
From your show.
- Night, George.
- Good night, George!
Good night, Sir Richard.
I'll be here tomorrow
to film in the church.
And then Tony and I
are gonna split downstairs.
-
- Yeah?
Would you like to go up
when you're ready?
- What time is he expecting you?
- You can give them to Debbie.
You know, it's exclusive.
It's gotta work for whoever does it.
Thank you.
Let's get a camera
down in the hall now too.
Yeah, I heard about that.
- Yes.
- Is that the same kind of?
Okay, hold it.
Three, two, one. All right.
Hi. Can we come in?
- Who you here for?
- Tony Richmond. Is he--
There's a special lead
that goes under.
Tony's ready, isn't he?
Uh, with cameras?
- Yeah.
- Yeah.
Okay. Let's go.
- Is it running?
- Yes.
- We're running.
- Running.
- What's going on?
- All right.
All cameras, take one!
Where's the best way
out of the way?
Over here, I think.
- Yeah, you would think that.
- With Maureen.
See, you can never tell
what he's doing.
Sorry.
- Hey.
- You know you're around back.
Which is you here.
- We may find--
- All right, yeah?
- It's a bit cold, isn't it?
- What's going on?
It's, uh, great.
- You're all right playing there?
- I don't know.
- Good shot there.
- Yeah.
Where's the instruments?
- Mal?
Nailed me down in the wrong place.
That's the last of it, yeah.
The three-- First, second and third.
- First of all, that seems to?
- I think if we have some?
Are you sure?
We've worked that out.
- Let's set them up.
- Yeah.
There's piping along there.
That's where you put them back in.
Yeah, well that goes in here.
- That should do it, really.
- Yeah.
- What's that? A perfect fit.
- Yeah, man.
What is it?
Hands are getting the feel of it.
It's gotta be like it is.
Just record the song.
Glyn, are you getting this down there?
- Oh, it's right-handed.
- Is it?
- Yeah.
- Kevin?
- I missed the start. George--
- Just look down. Must have had a few.
- Well, they're gonna hear it.
- Final checks. Roll sound.
- Right.
One, two, three, four?
- Rolling.
- Rolling. Is the door shut?
- Come on.
- We're good to go.
- Glyn, this one?
- No.
The one at the bottom of the spirals.
It's gotta be wedged.
- Get the clapper.
- Come on, you idiot.
Get the clapper here.
- Okay?
- Okay.
Okay.
One, two, three, four?
Yeah.
Whoo-hoo!
- Thank you very much.
- Thank you very much.
It looks like
Ted Dexter has scored another.
We've had a request
from Martin and Luther.
We need more voice on the PA, yes, Glyn?
- No, we don't need any more.
- That's all right. Hello? Hello?
Glyn, any more voice on the Fenders?
Do it there.
- What?
- Do it from up there.
No, they would have had
to turn off the whole roof.
Okay, cut it.
Mike, have you cut?
- Yeah, we'll cut.
Where's the noise coming from?
It's coming from the roof.
Do you know who it is?
Yeah, The Beatles, ain't it?
Yeah.
You like it?
Yeah, it's okay.
What do you think of it?
It's The Beatles.
Oh, I think jolly good.
Enjoying it?
Yeah, very much. Nice, bright thing
to see at the end of the day.
Do you like the idea?
I don't know
what they're supposed to be doing.
- Right, stop--
- All cameras, three!
Okay. When you're ready, guys.
All right, Billy.
One, two, three, four.
Get back, Jo Jo.
Go home.
Yeah.
You could say so, yes.
I think they're great.
Get back, Loretta.
Yeah, go home.
Your mommy's waiting.
In her high-heel shoes
and her low-neck sweater.
Get back, Loretta!
Whoo!
I think it's marvelous. Yes.
Beatles, I think.
Oh, get back home.
Never more to roam.
On the roof?
It's The Beatles, isn't it? Yeah.
It's Paul McCartney singing now.
Well, it was. Yeah.
Okay. Well, thank you,
ladies and gentlemen.
We've had a request
from Daisy, Morris and Tommy.
- "Don't Let Me Down."
- Okay.
This type of music
is all right in its place,
but I think it's a bit of an imposition.
First of all, it's too loud.
Absolutely disrupts all the business
in this area.
I think it's great!
Who is this? The Beatles?
I think it's fantastic.
Don't let me down.
That's right.
Whoo-hoo!
- That was so hard.
Hey! All right!
No, no, no, no.
Peace on Earth!
- Alan.
Ringo?
- Are the cameras still running?
- Yeah.
Just stick your snare drum mic
back over the snare drum.
Sir, we must have
your comment. What do you think of it?
What's going on?
- It's The Beatles.
- What gives? What's happening?
They decided to play
for the public for nothing.
Well, that's great.
It's a bloody stupid place
to have a concert.
Nice to have something for free
in this country at the moment, isn't it?
- Don't you like The Beatles?
- No.
- No?
- No.
Not at all?
Not now. They've changed completely.
The Beatles are doing
a free concert on the roof.
- Now?
- Yeah. What do you think of it?
I think it's very good.
Why aren't they doing it in the street?
They just thought you'd wanna hear it.
Yeah, well, we'd also like to see them.
I just can't see that it makes sense.
Well, I think it's a very good thing.
It woke me up from my sleep,
and I don't like it.
All cameras, four!
One, two, three.
Make sure you don't lean on that.
I can't see what to do.
- Oh.
- "Dig A Pony."
I'll have to get the words then.
- "Dig A Pony."
- "Dig A Pony."
- I don't know. It's just, uh--
- Just ask Mal to hold 'em.
Yeah.
- Kev.
- Kevin?
Come here.
Can you hang on?
Well, I'll ring you back later, all right?
Thank you very much.
We can't use City One Reserve.
Charming, innit?
- Jimmy?
- Hmm?
Have a Sweet Afton.
Thank you. Don't mind if I do.
Rolling.
Are you all ready?
Yeah? Okay. Are we rolling?
- Yeah.
- Okay.
- One, two, three!
- Hold it!
One, two, three?
Yeah, so why is it on the top of the roof?
All that money they've got?
No, I have no idea.
But it sounds really wonderful.
Yes.
Yes.
Oh, yes.
- Yes, I do. Yes.
- Yeah, I think it's a good idea.
Yes.
Thank you, brothers.
My hands are getting too cold
to play a chord now.
- Turn on the PA too.
- Okay.
- Shall we do "Can You Dig It"?
- "Can You Dig It"?
- I don't know.
What's happening?
The Beatles, obviously.
- Fabulous. Lovely.
- Definitely. Fantastic.
- They're all a few lads.
- Yeah. Get around, don't they?
- I said they get around.
"Misery."
That's the one, I think.
- That it?
- That's it. Lovely.
Anywhere where I could
have a listen to this?
Yes. Very much. Yes.
Yeah. It's great.
Um, I think Ringo.
No.
No.
Yeah.
Yeah. I think they're good.
Okay. Glynny.
Are you ready, Glyn?
- Running.
- Turnover, Mike.
Can we scratch that?
- Tuning.
- Running. Ready?
Okay, okay.
Not in the street, no.
- Oh, yes. Yes. Very much.
- You do?
No, my son does.
Oh, yes. My daughter does.
My son would.
He likes all that, but not me.
Yeah, we'll come upstairs.
Yeah.
- One, two, three, four.
- "And For The First Time."
- Oh!
- No, no, "Don't Let Me Down." Sorry.
Rock and roll!
You too!
- Whoo!
Whoo!
Whoo!
Yeah, that's right.
Yes.
Yeah.
It's off.
Whoo!
Whoo!
Yeah!
Whoo!
Get back.
- Thanks, Mo.
- I'd like to say thank you
on behalf of the group and ourselves.
I hope we passed the audition.
All right, boys.
Get in here. Step aside, there.
You all right?
Come. Get in there. Come on. In there.
What's the matter? Everything all right?
Hmm?
Get some more cover there.
Film through the office windows.
Okay.
People on the roof. Everything.
Stay there, girls. Stay there.
Thank you.
Okay. As soon as
you got the cover, that's a wrap.
Let's keep it moving please.
Step off the road, please.
Move along!
Move along, please.
Move along, please.
Off the road, please.
- Come on. Move along.
What's the law say that you--
why you can't do that?
- 'Cause of the PA speakers.
- Disturbing the peace.
- Well, how-- "Disturbing the peace"?
- Peace means like noise.
As Mike was saying,
this is a very good dry run
for something else too.
Apart from the value of this as it stands.
Yeah.
- Yeah, for taking over London.
- Yeah.
- You see, because?
- Top of the Hilton tomorrow.
Blasting out the sound in their power.
- Fantastic.
- Every rock group in the world,
in London, all on the top of buildings.
- Playing the same tune.
- Also on a platform of loudspeakers.
So you're just sort of strapped in
to little boxes in this structure.
What are you feeling about today?
- You wanna work more today or not?
- Yeah.
We should record the others now.
Gotta get the stuff down first.
- Let's have a break for a bit.
- We'll have lunch and that.
And then we record the other stuff
that we didn't do.
- Right.
- Up there. The acoustic stuff.
- Up there?
- No, down here now.
- When I--
- There won't be more rooftops.
No. No more rooftop.
- That was the rooftop.
- It was really bad.
- Oh, right.
- So, it's like--
You know, you're doing this
and we're taking it--
If we got the police,
we could pretend in the film
that we had to get down because of them.
- And here we are?
- Just the way it happened then.
That'll just be it, you know.
This is B camera roll, 1,150.
Slate 500, take one. Slate 500, take one.
Roll mic.
It might have been-- You know.
I don't like to throw things away.
Okay. Ready?
- Okay, turnover cameras.
- Clap it.
Turnover cameras.
Okay.
- Running.
- Turn over.
- Did I ever tell you when I had the--
- Take-- Take ten.
I don't think
I wanna hear that, Dick.
Okay, Jim.
- Good night, Paul.
- Say good night, John.
- Good night, Paul.
- Good night.
Take-- Take-- Take 17!
- Okay, start again.
F-stop.
We'll need one more, actually.
Take 18.
Now what's the chord you play?
- Running.
- Running, Col? Running, Mike?
- Yeah.
- Running, yeah.
- Nice and quiet. Mark it.
Take 25.
- What the shittin' hell is going on here?
Eins, zwei, viertel nach drei.
What the fuck's going on?
I'll never get "Maggie Mae" done
if we go on like this.
Are we supposed to giggle in the solo?
- Yeah.
- Okay.
- Get off, you bum!
- I lost a bass note somewhere.
- Oh.
Let it be.
- Is that the best one?
- I think that was rather grand.
I'd take one home with me.
Yeah, that was fine.
Don't kid us, Glyn.
Give it to us straight.
- Get me off this bass.
- Was that good enough?
- Yes.
- We'll do one more to cover ourselves.
We'll just do one more
'cause we know we've got it now.
We've got so many of the bastards.