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Golden Slumbers - I know it was an old song. Isn't it? When did you write it? - It's not my lyrics... it's an old... It's ancient... it's like an old lullaby Trad arranged by McCartney. Trad arranged, with tune... I put the tune to it-it's my tune It was at my dad's house - we put the traditional drums on it - and there was some sheet music for learning piano... and I just liked the lyrics I couldn't read the music so I started doing my tune to it Which album is this? - This was on Abbey Road You're George, this is Paul... - No.1 Beatle expert, George Harrison! Bass and piano so far Carry That Weight - It goes into Carry That Weight I don't think you are on it - Who's playing bass? It wasn't you, was it? - Unless it was over-dubbed Why would you over-dub a take 1? Because he was playing the piano Are you playing bass? Who's playing piano? - I think I am So who was playing bass? - He is I think I over-dubbed it - You can't play them at the same time He over-dubbed it. You can hear the sound of it-it's like direct inject But then, he played on 17 takes. This is take 1 He was keen! - It's been over-dubbed by somebody Maybe I played bass. I played bass on some... with that 6-string Fender - Sounds like him It was definitely Paul playing piano - You should be able to tell... because you'd know how you'd have done it There's lots of false starts and breakdowns. That was take 1 So, are you saying the bass couldn't be over-dubbed because it's on every take? It was live - OK, it must have been me or John playing it Obviously... - It could have been Ringo We had a 6-string bass, a right-handed bass... for these kind of conditions One of the great things about the way this studio was set up... they were set up for Mrs Mills, Daniel Barenboim, Russ Conway, Peter Sellers... so they always had all the instruments - grand pianos, harpsichords... They've ended up at my studio 'cos they were trying to get rid of them here Neil and Mal would be over here - I thought it was over here This is where everyone disagrees - They moved them round so much And my bit on... Up the cable! Up the cable! was through that door He's talking about Yellow Submarine, I think That's all it was-natural echo... just in that door there At that time there was a little board - the desk-up there The console was just about this big with four faders on it There was one speaker right in the middle For a mix it would be funny because everybody would get a fader each... and have full bass and full treble and one speaker... and that was it When they invented stereo I thought "What do you want two speakers for?" Because it ruined the sound from our point of view When everything came out of two speakers it sounded very naked Finally someone said, well, you can move things So everything from then on got panned like mad, you know But to mix the drums and bass in the middle, you know... it used to be over on the side I remember talking to someone at a party at Brian's house... and saying "This is a great bit, listen to the drums"... and it wasn't on that speaker We put it on again and had to go to the other speaker to hear the drums John had a tape with a rough mix of the backing track to I'm Only Sleeping By the time he got home-he didn't realise the tape was tails out - He put it on his tape machine and threaded the tail in forward... That's when he came in the next day and said oh, yeah, backwards... We made him turn the tape over and play it backwards... and then John and I, or Paul and I played guitars, just random notes... and then we reversed the tape... and that was the first time we had a backwards solo It became easier to do experiments because we'd had a few hits That was the key - we'd had success Then it was "Oh, great. Come in lads..." And as we got more and more success... we were more able to try some far out ideas They'd also give us more time Then you'd have success with a "far out" idea... and people would say "Wow, this is great!" We'd come back again and George would be keen to try other ideas So it became like a free house - whatever idea we wanted, we'd try it Can we have Tomorrow Never Knows? Which take? - All of them There's only three - The first take is really weird Listen to this. It's like the drums and a guitar at half speed There's only two basic takes... which is 1 and 3 All that... underwater stuff We should speed that up and see what it was Listen to the drum part, it's great That's the guitar slowed down at the top So is that just on it's own? - That's his voice That's good. With a bit of drums - And a bit of loop There's nothing on there - So we have no loops on this tape? This was just the first run through He wanted his voice to sound like the Dalai Lama chanting from a hilltop I said it's a bit expensive going to Tibet, can we do it here? I spoke to Geoff Emerick and he had a good idea He said let's try putting his voice through a Leslie speaker... and back again and re-recording it - no one had done that before That's how we got the special-effect on his voice The other things were the tambura drone and Ringo's drumming It's like doing a rhumba It's great, I like it How is he doing that? - What's that underwater sound? How's that drummer doing that, George? - He had to be very brilliant! There's no tambura on this What's that with the drums? Sounds like some kind of resonance on the drums Some residue! You then changed it afterwards - So that was the first take John just had the song... The song was very much influenced by... you know, in those days... the Indian music had come into our lives... and Indian music was all in one key - it didn't modulate He wanted to try a tune like that - that didn't change chords And also because of some of the other influences He had that Timothy Leary book... I think it was called Psychedelic Experience... and some stuff that related to the Tibetan Book of the Dead And he wrote those words... and did a kind of... monotone... kind of thing And also... you know, Paul and... there were different things going on, different influences... one of them being avant garde, you know, Stockhausen... There were a number of experimental things... that all came together on the one song Now we're talking! Serious music now So what have we got there? - You've got the rhythm on 1 You've got the voice on 3... 4 rather And on tracks 2 and 3 are the various tape loops, guitar and tambura On that one I brought in some tape loops that I'd done at home... I just made a lot of little loops and brought them all in - literally, little pieces of looped tape in a plastic bag - and we got them all on eight or so machines... with everyone holding a loop and a pencil... and got them all running, fed them all into the desk... and made the little mix that you heard before All those seagull noises - it's all sped-up tapes and loops So that was another little ingredient in that That wasn't used, was it? Bring Phil Collins in! That one's really good I don't suppose you remember what that loop was made of? Guitar probably When we made that record, it would be impossible to reproduce it again... because the way we made it was the actual mix... and all over this building, in different rooms... were tape machines, with loops on them... and people holding the loops in place with a bit of pencil... going all the time, being fed to different faders on our control panel... and we could bring up the sound, like an organ, at any time So the mix we did was random - it could never be done again The double-tracked voice is straight and that one has the wobble on it That's the best bit - We are gathered here today...! That's that piano down... - Is that you? I don't know. It sounds like you - It could be me Sounds like you Well, there you go - That's how we did it, really The Anthology was originally called The Long And Winding Road George Martin Producer The boys were to tell their own story rather than entrust it to somebody else After all, they knew better than anybody what had been going on And somebody thought it would be a good idea to have an audio equivalent But it's no good just doing a soundtrack of a film... because an awful lot is missing - the vision takes over So what we're providing is a complement to it Something that runs parallel but is pure sound The main gist of it is, with the music... to find the most ancient Beatle music possible To come in chronological order through our various records... and bring it up to date We lead the CD with the new song, Free As A Bird... which we figure is what people are waiting to hear Then what we do is flash back Also, as the documentary starts and then goes backwards - There's a bit in the opening where it says "Let's go back, back, back..." and it backs up until Ringo is about six months old And then the record, we thought, could work in that respect There's a lot of stuff from old tape recorders... of George, Paul and John singing and playing guitars... before I was in the band Then we go into old recordings from when we were about 14 or 15... which we haven't heard for ever, you know... things in my front room These are interesting because... they include a track where Stuart Sutcliffe was playing The bass guitar is not very good but it's historic We're talking about a historical thing now And I, for one, don't mind it being old and scratchy... because most of the music I buy is old and scratchy You know, music that was recorded in the early '20s and '30s I like a bit of tape hiss, personally It's not the quality you're listening to, it's the story You see our development happening We hear some of the stuff at EMI from when I first met them in 1962 There are a couple of tracks... the very early version of Love Me Do... with Pete Best on drums - which no one's heard No tapes exist of that He found it on an acetate, because they'd cut it onto disc He found that and it's been copied onto tape When I was asked to do this project... I said there's no way I'm going to mix this on a modern digital machine... because it wouldn't be what people did in those days... and I'm dealing with old tapes So I asked EMI if they could find me an old desk One of their engineers had this one... and they brought it in and it's a marvellous machine This was in number 2 studio, Abbey Road It was state-of-the-art then, but now it looks so old-fashioned But it's appropriate that we use this because it makes a different sound... so we're getting right back to the old days in doing this stuff... and it sounds all the better for it I'm staying in the old-fashioned mode until the very last moment... until it goes onto CD so that we keep the authenticity of it A lot of the tapes we're working on are 2-track, 4-track, up to 8-track We still have the old tapes - this is an old box They're 1-inch tapes - the 4-track machine is modern... but it is still the old vintage tapes of 32 years ago We're halfway through that CD before I enter the picture There's a lot of very early years that hasn't been heard Television or radio shows from Sweden... and various things from the Command Performance Things shown once on television We managed to get the soundtracks to some variety show we did There isn't a lot of live stuff out so it was a pleasure to hear it... because they were a great little band We've been listening to every take of every song we've done And we've discovered some interesting stuff Some of the early takes of most numbers are interesting Seeing how the songs developed and changed Sometimes they started quite differently to the masters everybody knows Then we get into cross-fading, like take 1 to take 4 On some of them where we were just working the song out... We always ran through the song - we very seldom sat around We'd say let's do this and that and, like, run it down And so the attitude from the beginning to 7 takes later... was like... a mile It's not like "Oh, we've changed a note"... We've changed the whole thing - working on it and changing it One of the strengths of the Beatles was that they had eternal curiosity - an eternal quest for something new They were always saying "What new sound can we have?" "What other instruments do you know? Give me a different sound" They were not content with what they had yesterday One interesting thing was that we always thought that people like the Supremes made "a good record" But then the next one was sort of the same record It was the Supremes sound, the Motown sound So we really liked the first one, the second one was not so good... and it paled a bit, you know So I think we tried not to repeat ourselves Our song-writing and our playing got better and it all just grew The music was always there in the background... reflecting our feelings and our desires... and all the various things we'd experienced It goes in leaps and bounds... and it's pretty interesting I thought we'd listen to an old recording we've been working on This doesn't require a great deal of balancing It was made on the 19th of January, 1967... and doesn't require much balancing because it only has 2 tracks This was the very first time we heard A Day In The Life in the studio This was the first version - the master came a bit later This is the version without Paul's middle bit... and without the orchestra John is just singing it, really, for himself I think it's charming. OK, Paul, let's have a listen I think that early take of John is so natural He wasn't expecting people 32 years later to be listening to it Sometimes after 19 takes, no matter how professional you are... the boredom creeps in-you can hear it. It goes perfect... but on early takes it's "God, sounds like they're really enjoying it" That's what I like about it As it gets into all the other stuff we found different out-takes... or maybe a version of something with different vocals to the master... so what we've done is present the alternate version You hear the songs for what they are I know George Martin was wondering why we had to do them again We said it's probably a case of "Maybe we can get it a bit better... "if we put a bit of drums on... or maybe a banjo..." You're always trying to get better Normally I don't think back on the past at all but I've had to... and it's been a strange experience. Paul actually said to me: "Hearing ourselves as we were 30 years ago, 25 years ago... "and hearing us chatting away, it's a strange experience "It's like looking into an old scrapbook - but coming to life" I think it was the early '70s, '70l71... Neil Aspinall Executive Producer I collected all the footage I could find from around the world... and we put a documentary together, a film together... without the Beatles being interviewed or anything like that It was about an hour and three quarters long... and I put it on the shelf for 20 years And it was an extremely interesting story Derek Taylor Series Consultant But it was very close to the breakup... so it wasn't done with that long perspective It was there on the shelf but I didn't really think about it It was a question of getting a lot of other business things together... and getting control, if we could, of various elements... of Beatle business, if you like And when we were in that position, it was easier to do It was easier to do... than not I really thought it would happen when Neil said... there's going to be an anthology, we're going to do the whole story The fellows have agreed and it would be on And I was very interested in a detached sort of way I think I mentioned it to everybody in 1990 or '91... or something like that And then we started doing it I got the production team together... and we started doing it I'd worked with the three of them before... Geoff Wonfor Director when I was directing McCartney's Oratorio for Liverpool He phoned me up and said he'd had a chat with a mate of mine I said who do you mean, and he said George Harrison He said "I didn't know you'd worked with George" I said, yeah... He said well he didn't know you'd worked with me Andy Matthews Editor I was on my way to the Montreux Jazz Festival I'd arranged to work on that... and Geoff rang me out of the blue and told me about it He said "You've got to make your mind up. Are you coming or not?" The rest is history - Geoff and I arrived down here to empty rooms Chips Chipperfield Producer I was working at EMllPMI, making television programmes Geoff was a director who'd worked there We'd both worked with Paul on the Oratorio and things... and he'd been asked to do this and nobody had asked me I said "Why haven't you asked me, I'd love to do this" He said "I didn't think you'd want to, you have a proper job" A full time job. And Geoff... seemed very happy... spoke to Neil Aspinall, spoke to Paul... and I went and talked to Neil and got the job I was on holiday when the rest of the guys started Bob Smeaton Series Director & Writer I thought, "bad timing" and I expected to come back... and find myself surplus to requirements So I phoned Apple: "I'm Bob Smeaton, I'm going to be working on this job" They said "Yeah, come down whenever you're ready" When I came in we had to really start to think about making the programme There's been a phenomenal amount of work done by a very small team Basically, the whole production has been done by ten people... including research and everything We've used between 9-10,000 pieces of footage and music All that's had to be cleared and logged - it's been a phenomenal job I'm useful to have around if the Beatles are being discussed... but I'm no use on some of the minutiae in detail I'm not good on things like the mechanics of making a documentary But on perspectives and insights I can be handy to turn to And I'm extremely generous with my time... and views And I get along with them and with Neil I realise that the one thing we had that nobody else had... no third party had... was the surviving Beatles, the three of them... and all John's interviews with Yoko's consent And so what I decided right from the beginning... not just now, but 20 years ago when I did the original one... was not to have some mid-Atlantic voice commentator... telling the Beatles' story It was better for them to tell their own story and to do that they had to be interviewed It was months of looking and listening before we put anything together Also, they're not the easiest of people to get hold of It took another three months trying to get hold of them to do an interview That was the other thing - to get an interviewer Not a David Frost type who would put everybody on their guard... but another musician, and that's how Jules Holland got involved Jools Holland Interviewer My job was to interview them and ask them about their history... from their small beginnings right up to the end of it Some of it was quite hard to talk about, the later parts There were unhappy moments, and laughter and tears, of course Because I'm a pianist and a musician more than a hard-nosed interviewer... I think they found it easier to relax And so Jules tended to ask questions... that a trained interviewer wouldn't ask With the Elvis episode, he asked if Priscilla was there, which is fine... but a regular interviewer wouldn't have asked what was she wearing It's not an "in-depth" question, is it? Do you remember how Priscilla was dressed? She had a long thing on... and a tiara I've got this picture of her like... as a sort of Barbie doll with kind of purple gingham and a gingham bow in her very beehive hair Do you remember seeing Mrs Presley? No, I don't I spent most of the party trying to suss out from his gang... if anybody had any reefer! We'd want to know what each programme was going to be I'd write the main areas and say we've got to hit all these bases Once we knew what we wanted in there... we had to get that information from the Beatles to make the programme By the time they got to the third interview-it's noticeable - you'll find that if you ask one of them a question... if they don't know the answer, it's maybe Paul, Ringo or George knows... so you cut to the other individual, who doesn't know the answer anyway... and he'll say maybe someone else knows the answer That came from watching what they'd done in their first interviews... and seeing if you don't know the answer, pass it on to the next guy... and then you've got quite a nice little cut... so we gradually got into making this thing We were always aware that John wasn't with us to get a quote from him... but the researchers did such a thorough job... that you'd need a quote from John and you'd get six or seven And because he was so succinct in all his interviews... if you ask him a question, he gives you the answer We looked through hours of footage of everything we have on John... and just sort of used... He's represented mainly in slow motion because he can't be talking Wherever he's appeared in archive saying anything, we've tried to use it We've used all that stuff, you know... and tried to give them all equal billing They've all seen it and approved it... so they all agree with what's in it If there's something that somebody wants to change... or doesn't like, then we would change it They left us alone, basically, for three years There were no major things to change These are Paul's Programme 1 changes. There aren't very many "Sack the crew!" They came in occasionally The three of them came in together, which was fantastic... to have them in here looking at various parts of it They have been, in many ways, a joy to work with They're still the Beatles... but I've had more problems with a new band making a five grand video They've all been, I think, completely honest and frank... to the point where some of the things they say aren't... You know, if you were doing a safe interview about yourself... you might not say But I think they feel the story should be told pretty much as it is The truth should be known even if sometimes it's a bit painful So they talk and that's what I was... I was pleased that it wasn't a show-biz cover-up The position taken by Apple and by us during the making of it... has been "This may never be released. That's why we can't talk about it" For a while there was very much a sense of that I can't think of any particular moment when we felt it wouldn't be released But you always got the sense... from the phone calls you were getting... the broadcasters that were phoning up... people asking questions about it - you got a sense of what it would be like when it was finished Now you've got to decide what to leave out, what to leave in... you've got a deadline to meet... getting the music together for a film, getting the rights together... whatever those rights are-master-use licences, publishing licences... permission for someone's name and likeness that you've used If they won't give it to you or you can't get a particular song... then you've got to change that bit It's the finishing process that - under pressure because you've got a deadline - that, for me, is always the... what's the word for it? It's the most traumatic time What's interesting about this Anthology now... is that they've had a long time to think about it... to get used to not minding having been Beatles It's no longer an embarrassment to them... and it's time to, as the clichô goes, reclaim their own history When I joined, Paul was the only one who'd sleep with me Well, there was actually a reason for that... I was never very prejudiced! When you joined, and you were the new fellow... and I thought if I hang out with you, they'll all be like... you know... so I thought... - Put Paul with him! Yeah, because it would be all right then But then it changed - it would be with anybody It just sort of went on through the different tours I enjoyed it because it wasn't the kind of thing we'd done much As kids, we'd hitch-hiked... and me and George would end up sleeping in the same bed at some B&B I hadn't been away from home much when we started I hadn't done any of it 'cos I'm an only child At Butlin's, almost... - Yeah, but I still slept on my own So it was kind of good, you know... It was great. Staying in a room with a friend and seeing his habits You stayed up late didn't you? You couldn't sleep You'd always have the light on... - I was frightened of the dark! He'd have the light on and you'd have to sleep this way But it was good. You get to know people that way You know, my hair... I'm still trying to make it go back... I've got some mousse you can use! ...but naturally it just goes forward We used to use really thick Vaseline to just get it back, like that... and I remember we went to the swimming baths in Hamburg We were walking back to the Reeperbahn and it dried and it was all like that By the evening we saw our friends, Jurgen and Astrid... and I remember them saying leave it like it is, it's really good It was kind of like that and everybody at that time was starting to just... If they'd said it was naff we'd have changed it... but because they liked it, we liked it We didn't really go with it in a major way, we still... I remember when John and I went to... He had his 21st... and he got a hundred quid off his uncle who was a dentist in Edinburgh Very elevated stuff, that - we'd never known the likes of anyone who had a relative who was a dentist Or a hundred quid! To this day no one has ever given me that-a hundred smackers! And then, as you can imagine, that was like an inheritance But John got this hundred quid and said what shall we do? So we decided to go to Spain to spend the û100 We got as far as Paris - we hitch-hiked - and decided we'd maybe go to Spain later in the week as we liked Paris We bumped into Jurgen, our friend - Astrid, Jurgen and Klaus - and said "Your hair's nice. Could you do ours like that?" He said are you sure you want this? I said yeah, go on, we're on holiday and all that We arrived back in Liverpool with this funny hair, forward, as you say... and everyone was a bit dubious about it but it just fell into the thing then... and we kept it forward You did yours but Ringo always had a big grey shock under there It's still there - He had to do it to join the band It's the only way I could join But when it came forward you didn't see his grey bit He had a beard too - "Shave the beard, keep the sideburns" We'd got a look going here I looked like this actually, just before I joined you guys Only with a suit We actually saw a London band in Hamburg... and one of them wore boots with a pointy toe and a Cuban heel... and we thought "Hmm... they're good! "Where did you get those?" He said in London at Anello & Davide's We went to Anello & Davide's and bought those boots Then we thought hey, they make them - we'll get our own made So the one that became the "Beatle boot" were ones we had made but the original one... Remember, he had that elastic down the side... It was a ballet shop - Anello & Davide made ballet stuff-tutus and shoes It's where all the little girls went We'd be getting our Beatle boots made and there'd be these children, you know No, you had the tutu. I never had one of them It was Ringo who had his feet bandaged wasn't it? To fit those little ballet shoes - I was going to China! And then later we started realising you could get whatever you wanted At first they were all the same but then... We could have them in our size! - I had a cord suit... What'll go...? I know... cord boots. Just give them the same fabric Then we had ankle ones, calf ones, knee high... all kinds Then there was this one that went... It was one of the first ones... It was a cinema commercial for Link furniture... called Thinking Of Linking - we were at the pictures Good Intro - Good Intro, yeah There's no second verse Cost 75 quid, my first car - That was a good car Was it off Johnny Hutch? - What colour was it? Red and white-hand painted. Painted by hand! You had a green Anglia - Blue That was much later though - I took you to get that car Did you? - I took you up to... - Warrington And as we were coming home, you were speeding and I was speeding... We were close to each other and you overtook this car... I was ready to overtake and just as I got right up his arse... a dog ran out out in front of him so he slammed on his brakes... I smashed right into him, broke the fuck out of my car... It was lucky it was by a garage - we pushed it into the garage - because I had no licence or insurance Did I stop? - You just kept going You just didn't give a damn! - To this day I never knew about that Couldn't we do Blue Moon Of Kentucky? Just a short version Did you ever meet Elvis again? I've felt I've met him several times - You've felt him? We'll know when we stand up! - How do you mean, you've felt him? I have some memories that I've met him several times Maybe it was just the one night and I kept bumping into him! It's called flashbacks, I think Did you meet him again? - No. I met him just once I met him in Madison Square Garden... a couple of years before the end - it was a bit sad, really Rhinestone cowboy He had all them squawking girl singers and trumpet players... but he had a great rhythm section - James Burton and all that gang And I just wanted to say get your jeans on... get your guitar and just do That's Alright Mama I saw him in Vegas in the '70s... ...and bugger all that other crap after the er... You saw him in Vegas? - Yeah I only met him that once-that night When I saw him, I was like, a hippy with all this denim on and long hair It was in the early '70s, I went backstage to meet him... and, you know those big dressing rooms and miles of toilets and stuff... I was sitting talking to the guys and he was nowhere to be seen... then finally he came round the corner in that big white outfit with gold things... and he looked like Ringo-all his beard was... was varnished All his hair was black and he was all tanned and stuff... and he seemed like... I thought I was meeting Vishnu or Krishna or somebody... it was just like... wow! And I just felt like this snotty, grubby little... "Hello, Elvis, how are you?" and he's like..."Hi" And I just wanted to say why don't you just do That's Alright Mama... and get rid of all those chick singers It was sad, but he did a couple of good tunes Did you ever meet him again? - Not after that day But he was great when he was great This has been a really nice day - It's been a pleasure for me too Cool. We won't have to see you for the next 40 years! That should end the series - we could end on this note I think it was Candlestick Park - No, it wasn't, it was... This is Candlestick Park It's been a very nice day, thanks for having us, George It's been really beautiful... I like hanging out with you guys Little choochie face! When I went on tour, journalists asked me if the Beatles are getting back together I had to have some kind of answer for that... so I said maybe the three of us would do some incidental music... maybe an instrumental for this new Beatles thing, the Anthology documentary We were going to just get there and play and see what happened That seemed OK, but then we thought why not do some new music? We always had a thing between the three of us - or the four of us at that time - that if any one of us wasn't in it... we weren't going to get... you know... Roger Waters, and go out as the Beatles Or Dave Gilmour... We were gonna... So therefore the only other person who could be in it was John We kept hitting that wall because this is a documentary on the Beatles It's not on Paul, George and Ringo If we were to do something - the three of us - as interesting as it may be and as nice as we could make it... to have John in it is the obvious thing So, I believe it was Paul who asked Yoko... is there anything of John's that never came out? Maybe we could work with it She sent us these tapes and that's how it came about In fact, we didn't know as much as most Lennon fans... who already knew about Free As A Bird and Real Love They'd heard them-we hadn't It was really emotional Just hearing the tape that was sent was pretty emotional And then we got to the studio and it was difficult for a while You know, he's not here - we're all here, where's John? Of course, John's in heaven But we had to get over that We got over it by feeling that he'd gone to lunch or for a cup of tea... because all the time we were making records... we weren't all in the room, all the time, and sometimes we would split And so we dealt with it in that way - at least that's how I dealt with it So when we got in the studio we had a cassette of Free As A Bird It was very bad quality, it was just a mono cassette... with John and the piano locked in on one track - which nobody would normally have to deal with But Jeff Lynne, the producer, overcame those technical difficulties It wasn't easy because they were mono tapes... Jeff Lynne Co-Producer with John singing and playing, so you couldn't separate anything John plays piano on the records too, you know... which is great because it kept the integrity of that It wasn't just his voice, he was doing a performance at the same time Technically it was virtually impossible but we really worked at it very hard So, after that, we did a basic track with all these gaps in it... and then we had to fill in the song... which is what happened What we did was remake the song - we changed chords and stuff Well, I vote for the E suspended. What do you think, audience? We changed arrangements, we added parts and we wrote lyrics Then we made the multi-track tape of the song... and then took John's voice and laid him into the track When it started taking shape and John was in there singing... I think everybody said wow, this really works I was really thrilled because I'd spent a long, long time on it... making the vocals fit exactly And once that happened we were all... yeah, this is really good, and it's not doing John a disservice It's actually a really good record I listened to it and I thought it sounds just like them I'd taken myself away from it for so long it was like listening to it as an outsider It sounds just like them - it's brilliant When George and I were doing the harmonies, it was, like Ringo said... "It sounds just like the Beatles!" It wasn't surprising to me because I went there to work with the Beatles I always assumed, in my naivety... that it was going to sound like a Beatles record It's going to sound like them if it is them It sounds like them now. That's what I think The first choice was Free As A Bird and we did that in February '94 And then we didn't do much except put together the Anthology, recording-wise... until February '95 when we went back to my studio with Real Love Real Love is more of a poppy song It was more difficult, actually, because we'd already done it Now we're doing it again... so for me, I felt it was more difficult to turn it into a real Beatle track The thing for me that was not quite as much fun with Real Love... was it was finished - it had all the words and music So I didn't really get to input like we had on Free As A Bird... which made it more like a Beatles session This was more like we were side men to John... which was... joyful and good fun - and I think we did a good job It was like, better than being a fly on the wall-this was great! It was beyond my wildest dreams to have actually sat with the three of them Very few people have, I think And to be making records with them was just astonishing It brought back memories, hanging out with Paul and George again We hadn't done that in a while We work well together - that's the truth of it, you know That's a very special thing when you find someone you can talk to If you find someone you can play music with, that's really something I think we had so much of the same background... you know, our musical background, where we came from... and what we listened to, you know, in common... and then all those years we played together Somehow it's made a very deep groove in our memories It doesn't take much to lock in Originally we were going to have a bird in the piece... and you follow the bird as it flies through history - Joe Pytka Director a bird that takes you through the history of the songs... visiting the places that inspired the pieces The bird flies through the Beatles' lyrics... through Penny Lane and Helter Skelter Then Neil said not to use a bird... because no one could agree on what kind of bird it should be You never see the bird - the camera is the bird We made the sound of the wings so the rest of the piece would make sense We have the loud flapping at the beginning... so later on you'll know that it's a bird taking you through these places We went back and forth between the guys We had to send our notes back to the surviving Beatles and Yoko... for their approval of the ideas Derek Taylor was incredibly helpful When we presented a sketch of the idea, he sent us a note back... which was a beautiful piece of poetry... which not only reaffirmed the potential of the idea... but gave us a lot of attitude toward the way the material should be approached We tried to shoot at all the authentic locations We shot in Penny Lane and had the Art Department rebuild it as close as possible We shot the Liver Birds from a helicopter over Liverpool We shot near the docks which is a reference to John's father I'm the poppy girl from Penny Lane We had huge casting sessions, we had hundreds of people on tape We went through the tapes in London, Liverpool and Manchester Almost all the people were local with maybe a few actors from London Paperback Writer, I think, was an actor from London But most of them were basically local people Got it? OK, can you do that? We're going to do a banquet of piggies based on the... Sgt Peppercover... with all the celebrities, all these people having dinner This will probably have to be done digitally after the production phase The art director found these fabulous little piggy masks And instead of this really complicated banquet scene... we just had these masked children skipping down a lane in Liverpool... which was much more in keeping with the spirit of the Beatles at that time We story-boarded all the ideas... but ignored them completely once we saw things in practicality There's nothing story-boarded about the idea at all You couldn't story-board because of the way the camera flowed One shot in particular, the Lotus crashing... was story-boarded from above so the bird sees from above it We shot it like that for hours... and then at the last minute I had the Steadicam operator do some low shots... and with the flow of the piece, it was much more interesting that way Much more interesting The shot from above looked nice on a story board and was clever... but it was better to bring the bird down... to see the emotion, the car, the smoke and the people The video's made up of referenced archival footage... footage that we filmed live... and then bits and pieces were put in at various places... which were shot on a green screen stage, which is a way to marry - almost everybody knows what that means now-which marries... other elements into a live background to enhance it A couple of shots would be the dog in the Eleanor Rigby cemetery... The elephant in the hotel was put in in post-production When Ringo saw the rough cut he wanted this elephant We hadn't shot the elephant as part of the piece Neil called and said Ringo wants an elephant He says he likes everything but misses his elephant George wanted a sitar and Ringo wanted an elephant So we got an elephant and shot it on green screen... and snuck it in that procession in the ballroom We used a Russian Akela crane which gives these big sweeping moves The end shot at Abbey Road couldn't have been done with a Louma crane That was the star of the piece Then we used the Louma crane for more precise shots, smaller shots... and a Steadicam operator We also had a tiny remote-controlled helicopter... with a video camera on it to do intricate shots The thing that I'm most happy with is the seamlessness of the piece The transition between scenes isn't obvious Many of them are invisible even to people in the industry So the seamlessness of everything, marrying all these bits and pieces - archival footage, new footage, green screen, live production footage - I'm very happy We were given this piece that represents something incredibly precious... to untold numbers of people around the world... and we had to protect it In addition, we had to inspire people, so there was a duality there One, we want to do something very creative and functional... and do the job as a professional piece On the other hand, we had to respect everything that had gone before I felt that we succeeded in respecting the tradition... and bringing it forward and inspiring it... and looking at it in an unusual way... which even reflects how the song was created One of the things that's a little bit heart-breaking... is the ukelele player at the end George wanted to play that part and I resisted the idea I didn't think we wanted to see contemporary Beatles in the piece Thinking that they had sampled an archival piece of music... and it turns out that George had actually performed that on the song... Had I known that, I would have had him do it I'm heart-broken about that piece - especially now, more than ever |
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