0:00:09 > 0:00:13On the morning of February 11th 1963,
0:00:13 > 0:00:16Abbey Road studio engineer Richard Langham
0:00:16 > 0:00:20was unloading sound gear for a young band he didn't know much about.
0:00:20 > 0:00:24He soon discovered that there was something rather different about them.
0:00:27 > 0:00:30I put the speakers on the stands.
0:00:30 > 0:00:34It was very interesting because in the back there were these pieces of paper lying around.
0:00:34 > 0:00:36Like confetti, almost.
0:00:36 > 0:00:40I picked a couple up and dusted them down and they were actually song titles
0:00:40 > 0:00:44written on pieces of paper girls had thrown up onto the stage saying,
0:00:44 > 0:00:47"Please play this and here's my phone number."
0:00:48 > 0:00:53- 'I'm Ringo and I play the drums. - I'm Paul and I play the bass.
0:00:53 > 0:00:58- 'I'm George and I play a guitar. - I'm John and I too play a guitar.
0:00:58 > 0:01:00'Sometimes I play the fool.'
0:01:01 > 0:01:0512 hours later, those four young men emerged having made musical history
0:01:05 > 0:01:10and one of the most significant and groundbreaking albums of all time.
0:01:15 > 0:01:17# One, two, three, four. #
0:01:19 > 0:01:24With its iconic cover and songs such as I Saw Her Standing There and Twist and Shout,
0:01:24 > 0:01:29Please Please Me was the album that introduced the Beatles to the world.
0:01:29 > 0:01:31It was number one for 30 weeks
0:01:31 > 0:01:35until it was replaced by the Beatles' second album.
0:01:35 > 0:01:38# I love you. #
0:01:38 > 0:01:41It was the nearest thing to try and capture us live, you know,
0:01:41 > 0:01:44as we might have sounded in Hamburg or Liverpool.
0:01:44 > 0:01:47'Do You Want To Know A Secret, track two, take eight.'
0:01:47 > 0:01:49'Shall we just do it on the second verse?'
0:01:49 > 0:01:51# Listen
0:01:51 > 0:01:54# Do you want to know a secret. #
0:01:55 > 0:01:59In honour of the Beatles' speed and brilliance and sheer effrontery,
0:01:59 > 0:02:02we've assembled 11 top artists here in studio two of Abbey Road
0:02:02 > 0:02:05to recreate the recording of Please Please Me.
0:02:05 > 0:02:07They will perform the tracks in the same order
0:02:07 > 0:02:10and at the same time in the day.
0:02:10 > 0:02:13The songs will go out live on Radio Two
0:02:13 > 0:02:16so the artists have just one take to get it right.
0:02:16 > 0:02:19We're going to take you through the Beatles' day, hour by hour.
0:02:21 > 0:02:24I do think people who don't like the Beatles are very weird.
0:02:24 > 0:02:26They were tough, they were funny.
0:02:26 > 0:02:30They caught one moment in one time and it's got such a... It's great.
0:02:30 > 0:02:34You often get the hairs on the back of your neck moment every now and again.
0:02:34 > 0:02:37I've had it about 15 times in the last hour!
0:02:37 > 0:02:39# Bop shoo-op
0:02:41 > 0:02:43# My girl says... #
0:02:43 > 0:02:49We were told, don't get too close to these people with long hair and everything else.
0:02:49 > 0:02:51The last song nearly killed me.
0:02:51 > 0:02:54It just ripped the place apart. It was unbelievable.
0:02:54 > 0:02:57# Like I please you. #
0:03:03 > 0:03:05The Beatles came to Abbey Road to record Please Please Me
0:03:05 > 0:03:07in the middle of a tour with Helen Shapiro.
0:03:07 > 0:03:09John Lennon had a stinking cold
0:03:09 > 0:03:13and so, armed with a packet of throat sweets and a packet of fags
0:03:13 > 0:03:15on top of the piano, they got stuck in.
0:03:16 > 0:03:19The first song they recorded was There's A Place,
0:03:19 > 0:03:23an introspective piece written by Lennon only a few months before.
0:03:23 > 0:03:25# There's a place
0:03:25 > 0:03:28# Where I can go. #
0:03:28 > 0:03:34First in the studio and getting ready to tackle the song is Gabrielle Aplin.
0:03:34 > 0:03:38Only 20, she's already had a number one with The Power Of Love.
0:03:38 > 0:03:42- Grand.- Shall we try it from the beginning?- Yes. I'm so glad you're here.
0:03:42 > 0:03:46Chris Evans is about to introduce Gabrielle live on Radio Two.
0:03:46 > 0:03:48Coming to Chris in about 15 seconds.
0:03:48 > 0:03:51- Say good morning everyone. - ALL: Morning.
0:03:51 > 0:03:55I wish all the listeners could be here. This is so special, what's going to happen here now.
0:03:55 > 0:03:59You're building it beautifully for us. You're giving us the picture perfectly.
0:03:59 > 0:04:01- Are you ready, Gabrielle? - I'm ready.- OK.
0:04:07 > 0:04:10# There's a place
0:04:10 > 0:04:13# Where I can go
0:04:13 > 0:04:17# When I feel low
0:04:17 > 0:04:20# When I feel blue
0:04:20 > 0:04:24# And it's my mind
0:04:24 > 0:04:28# And there's no time
0:04:28 > 0:04:30# When I'm alone
0:04:32 > 0:04:35# I think of you
0:04:35 > 0:04:39# And the things you do
0:04:39 > 0:04:42# Go round my head
0:04:42 > 0:04:46# The things you said
0:04:46 > 0:04:52# Like "I love only you"
0:04:54 > 0:04:58# In my mind there's no sorrow
0:04:58 > 0:05:01# Don't you know that it's so
0:05:01 > 0:05:05# There'll be no sad tomorrow
0:05:05 > 0:05:11# Don't you know that it's so
0:05:11 > 0:05:16# There's a place
0:05:16 > 0:05:19# Where I can go
0:05:19 > 0:05:23# When I feel low
0:05:23 > 0:05:26# When I feel blue
0:05:26 > 0:05:30# And it's my mind
0:05:30 > 0:05:33# And there's no time
0:05:33 > 0:05:38# When I'm alone
0:05:41 > 0:05:47# There's a place. #
0:05:57 > 0:06:01In 1963, Richard Langham was a freshfaced Abbey Road engineer
0:06:01 > 0:06:03working on Please Please Me.
0:06:03 > 0:06:08Before going into the session, we were told,
0:06:08 > 0:06:11don't get too close to these people with long hair and everything else.
0:06:11 > 0:06:14So we just turned up. It was a cold February day.
0:06:14 > 0:06:18We set everything up roughly in the studio because they hadn't arrived.
0:06:18 > 0:06:22We had no instruments or amplifiers or speakers or anything.
0:06:22 > 0:06:26Finally, they arrived. Basically, I think for all of us,
0:06:26 > 0:06:30it was let's get this up and let's get on the road because by this time
0:06:30 > 0:06:33it was probably 10:30am or 11:00am and the session was 10:00am to 1:00pm.
0:06:33 > 0:06:37So we should have started bang on ten. Those were the strict rules of the studio.
0:06:37 > 0:06:40All sessions were logged on recording sheets.
0:06:40 > 0:06:46If it was a false start, anything like that was all logged and everything was kept.
0:06:46 > 0:06:48All takes were timed.
0:06:48 > 0:06:52So if George suddenly said, "That was good. We might put that in with number four.
0:06:52 > 0:06:55"How long was take four?", you could tell him whether the timings
0:06:55 > 0:06:58with the same and he'd know roughly they would edit together.
0:06:58 > 0:07:03And of course, you didn't have any idea when you wrote that record that it's now a historical document.
0:07:03 > 0:07:07No. No-one told me when I wrote those that 50 years later they'd be here examined!
0:07:10 > 0:07:13Around 11:30am, and with lunchtime looming,
0:07:13 > 0:07:16the Beatles turned next to I Saw Her Standing There.
0:07:16 > 0:07:21Written by Paul McCartney, for a long time it was known simply as '17'.
0:07:21 > 0:07:22# One, two, three, four. #
0:07:25 > 0:07:29The studio recording shows that it was sometimes a bit tense.
0:07:29 > 0:07:30'Too fast.
0:07:30 > 0:07:35- 'You had the wrong words. - Yeah, but it's too fast anyway.'
0:07:35 > 0:07:38Today, things are much more relaxed.
0:07:39 > 0:07:42About to perform the song are the Stereophonics.
0:07:42 > 0:07:46- Kelly, this room, has it got a vibe to you?- Yes.
0:07:46 > 0:07:51I mean, we've recorded a couple of tracks here before a few years ago.
0:07:51 > 0:07:55It's just one of those studios in the world.
0:07:55 > 0:07:58There are a few in LA and this one which you can't help,
0:07:58 > 0:08:02you know, feeling the presence of the records that were made here really.
0:08:02 > 0:08:07You chose the track you're going to do, I Saw Her Standing There, particularly, didn't you?
0:08:07 > 0:08:10- Why this track?- I remember on a cassette in my house when I was a kid
0:08:10 > 0:08:13with all the Beatles' stuff like I Want To Hold Your Hand
0:08:13 > 0:08:16and stuff like that, this was one of the ones I remember as a kid.
0:08:16 > 0:08:19There's a lot of stuff on the album which a lot of people
0:08:19 > 0:08:23probably won't be as familiar with as you might think they would be on this record.
0:08:23 > 0:08:27I think this suited the kind of stuff we were doing as a cover band when we were kids
0:08:27 > 0:08:30and it suited the sound of the band and the key and the voices and stuff.
0:08:30 > 0:08:33It's just a simple kind of rock 'n' roll song really.
0:08:33 > 0:08:35# One, two, three, four
0:08:39 > 0:08:42# Well, she was just 17
0:08:42 > 0:08:45# You know what I mean
0:08:45 > 0:08:47# And the way she looked
0:08:47 > 0:08:49# Was way beyond compare
0:08:51 > 0:08:55# So how could I dance with another
0:08:55 > 0:08:56# Oooh
0:08:56 > 0:09:00# When I saw her standing there
0:09:02 > 0:09:05# Well, she looks at me
0:09:05 > 0:09:08# And I, I could see
0:09:08 > 0:09:10# That before too long
0:09:10 > 0:09:12# I'd fall in love with her
0:09:14 > 0:09:17# She wouldn't dance with another
0:09:17 > 0:09:19# Oooh
0:09:19 > 0:09:23# And I saw her standing there
0:09:24 > 0:09:27# Well, my heart went boom
0:09:27 > 0:09:30# When I crossed the room
0:09:30 > 0:09:37# And I held her hand in mine
0:09:39 > 0:09:42# We danced through the night
0:09:42 > 0:09:44# And we held each other tight
0:09:44 > 0:09:46# And before too long
0:09:46 > 0:09:49# I fell in love with her
0:09:50 > 0:09:54# Now, I'll never dance with another
0:09:54 > 0:09:56# Oooh
0:09:56 > 0:10:00# Since I saw her standing there
0:10:23 > 0:10:26# Well, my heart went boom
0:10:26 > 0:10:29# When I crossed the room
0:10:29 > 0:10:36# And I held her hand in mine
0:10:38 > 0:10:40# We danced through the night
0:10:40 > 0:10:43# And we held each other tight
0:10:43 > 0:10:45# And before too long
0:10:45 > 0:10:48# I fell in love with her
0:10:49 > 0:10:53# Now, I wouldn't dance with another
0:10:53 > 0:10:55# Oooh
0:10:55 > 0:10:58# Since I saw her standing there
0:11:00 > 0:11:04# Since I saw her standing there
0:11:06 > 0:11:10# Since I saw her standing there. #
0:11:17 > 0:11:18Thank you.
0:11:20 > 0:11:23By the time they'd finished I Saw Her Standing There,
0:11:23 > 0:11:25they'd only completed two songs and it was lunchtime
0:11:25 > 0:11:29and this being Britain in the 1960s, it was imperative, of course,
0:11:29 > 0:11:31to down tools and go to the pub for a pint.
0:11:31 > 0:11:33Nearly everyone did that anyway.
0:11:33 > 0:11:37When George Martin and his team returned, they had a surprise in store for them.
0:11:37 > 0:11:41When we walked back in from our lunch, the boys were still playing.
0:11:41 > 0:11:44I think we actually stopped as we came in the door
0:11:44 > 0:11:47because they were still playing
0:11:47 > 0:11:49and this was something we hadn't seen before.
0:11:49 > 0:11:55And so, we said, "We're back and we'll go to the control rooms and get ready for you again.
0:11:55 > 0:11:57- So they had rehearsed?- Yes.
0:11:57 > 0:12:00They'd played all through the lunchtime.
0:12:00 > 0:12:02Those rehearsals paid off.
0:12:02 > 0:12:06The next song, A Taste Of Honey, was done in just five takes.
0:12:08 > 0:12:11# A taste of honey. #
0:12:11 > 0:12:15Joss Stone has accepted our challenge to rehearse and record it in an hour.
0:12:17 > 0:12:21The song, A Taste Of Honey, had been a hit for American Lenny Welch,
0:12:21 > 0:12:25and since the middle of 1962, part of the Beatles' the live set.
0:12:27 > 0:12:31It's a strange song in some ways, isn't it? What did you make of it?
0:12:31 > 0:12:34I thought it was a strange song. I mean, it's a great song.
0:12:34 > 0:12:37- I think it's actually really quite beautiful.- It is beautiful, yes.
0:12:37 > 0:12:40It's got that lovely, you know, shape to it.
0:12:40 > 0:12:45But my mum, she said it sounds like a Morris dancers song!
0:12:45 > 0:12:48- I know what she means! - Yes, with the bells.
0:12:48 > 0:12:51- She was dancing around the room! - It's very old-fashioned, isn't it?
0:12:51 > 0:12:55I first heard it when I was a kid before you were born, horrifyingly.
0:12:55 > 0:12:57The melody is really old-fashioned.
0:12:57 > 0:13:00It's got a very old... It's not like Greensleeves,
0:13:00 > 0:13:03- but you know what I mean. - I know what you mean.
0:13:03 > 0:13:06It could be like a really old-fashioned tune. It's modal.
0:13:06 > 0:13:08- Is that right? - I'll go with that.- OK.
0:13:08 > 0:13:10I've made, I don't know, five or six albums,
0:13:10 > 0:13:13but my favourite ones would be the ones would be the ones
0:13:13 > 0:13:15that only took like a week because it was really fun.
0:13:15 > 0:13:18I've never done one in a day, but I'd love to try.
0:13:18 > 0:13:21When you're in there, you can just... It's great.
0:13:21 > 0:13:23And you capture that moment. And that's what they did.
0:13:23 > 0:13:28They caught one moment in one time and it's got such a... It's great.
0:13:44 > 0:13:49# I dreamed of your first kiss
0:13:49 > 0:13:51# And then
0:13:51 > 0:13:56# I feel upon my lips again
0:13:56 > 0:13:58# A taste of honey
0:14:00 > 0:14:04# Tasting much sweeter than wine
0:14:08 > 0:14:11# I will return
0:14:11 > 0:14:14# Yes, I will return
0:14:14 > 0:14:18# I'll come back for the honey
0:14:18 > 0:14:20# And you
0:14:24 > 0:14:26# Yours was a kiss
0:14:26 > 0:14:30# That awoke my heart
0:14:30 > 0:14:32# There lingers still
0:14:32 > 0:14:35# Though we're far apart
0:14:35 > 0:14:38# A taste of honey
0:14:39 > 0:14:43# Tasting much sweeter than wine
0:14:45 > 0:14:47# Oooh
0:14:47 > 0:14:49# Oh-oh
0:14:53 > 0:14:56# Oooh
0:14:57 > 0:14:59# Oh
0:15:03 > 0:15:05# Oh, yeah
0:15:11 > 0:15:13# A taste of honey
0:15:13 > 0:15:16# Yes, I will return
0:15:17 > 0:15:20# Yes, I will return
0:15:20 > 0:15:22# I'll come back
0:15:22 > 0:15:24# I'll come back
0:15:26 > 0:15:29# For the honey
0:15:31 > 0:15:36# And you
0:15:42 > 0:15:45# And you. #
0:15:51 > 0:15:54# As I write this letter... #
0:15:54 > 0:15:58One of the LP's most famous songs has a secret behind it.
0:15:58 > 0:16:01The man who knows the story is the Beatles' press officer, Tony Barrow,
0:16:01 > 0:16:04who wrote the distinctive sleevenotes on the back
0:16:04 > 0:16:07that were pored over by a million teenagers.
0:16:08 > 0:16:12I was trying to give the listener a companion piece, if you like.
0:16:12 > 0:16:16Something that would complement what was going in through the ears
0:16:16 > 0:16:19with something that would go in through the eyes.
0:16:19 > 0:16:21# You, you, you... #
0:16:21 > 0:16:24It used to be a matter of listening and reading
0:16:24 > 0:16:27and the two went together completely.
0:16:27 > 0:16:31# Until the day I do love. #
0:16:31 > 0:16:33"This brisk selling disc".
0:16:33 > 0:16:36- You don't hear that much now, do you?- Not really, no.
0:16:37 > 0:16:40# You, you, you. #
0:16:40 > 0:16:44I actually opened Brian Epstein's first London offices
0:16:44 > 0:16:48above a dirty bookshop in Monmouth Street, Covent Garden.
0:16:48 > 0:16:53For the first few weeks, I had the Beatles into the office
0:16:53 > 0:16:58for a few hours most days to do interviews.
0:16:58 > 0:17:02At the time that Please Please Me was coming out,
0:17:02 > 0:17:06John had been married for quite a few months
0:17:06 > 0:17:11and in fact his son, Julian, was born around that time.
0:17:11 > 0:17:15And yet it was Brian Epstein's policy that artists of his
0:17:15 > 0:17:19should not have girlfriends, partners, whatever.
0:17:19 > 0:17:23If necessary, we were saying, "No, John Lennon is not married."
0:17:23 > 0:17:28And I remember that during one of the interviews
0:17:28 > 0:17:31where that kind of question cropped up,
0:17:31 > 0:17:34John took a hold of my press office copy,
0:17:34 > 0:17:40turned it over and beside his own name he hand wrote the word, "Married!",
0:17:40 > 0:17:46which was his defiance, if you like, of our covering it up.
0:17:46 > 0:17:49# I love you. #
0:17:51 > 0:17:55Come 3:30pm, it was the turn of Lennon's Do You Want To Know A Secret
0:17:55 > 0:17:58about that double life as popstar and married man.
0:17:58 > 0:18:02Singing it in studio two, exactly 50 years on,
0:18:02 > 0:18:04is Ian Broudie of the Lightning Seeds.
0:18:08 > 0:18:12# You'll never know how much I really love you
0:18:15 > 0:18:21# You'll never know how much I really care
0:18:25 > 0:18:27# Listen
0:18:29 > 0:18:31# Do you want to know a secret
0:18:33 > 0:18:36# Do you promise not to tell
0:18:39 > 0:18:41# Closer
0:18:42 > 0:18:45# Whisper in your ear
0:18:47 > 0:18:50# Say the words you long to hear
0:18:51 > 0:18:54# I'm in love with you
0:18:57 > 0:19:00# Listen
0:19:01 > 0:19:03# Do you want to know a secret
0:19:05 > 0:19:08# Do you promise not to tell
0:19:11 > 0:19:13# Closer
0:19:14 > 0:19:17# Let me whisper in your ear
0:19:19 > 0:19:23# I'll say the words you long to hear
0:19:24 > 0:19:27# I'm in love with you
0:19:30 > 0:19:32# I've known a secret
0:19:32 > 0:19:34# For a week or two
0:19:34 > 0:19:37# Nobody knows
0:19:37 > 0:19:40# Just we two
0:19:44 > 0:19:46# Listen
0:19:47 > 0:19:50# Do you want to know a secret
0:19:51 > 0:19:54# And do you promise not to tell
0:19:57 > 0:19:58# Closer
0:20:00 > 0:20:04# And let me whisper in your ear
0:20:05 > 0:20:09# I'll say the words you long to hear
0:20:10 > 0:20:13# I'm in love with you
0:20:15 > 0:20:17# I'm in love with you
0:20:20 > 0:20:23# I'm in love with you. #
0:20:37 > 0:20:41The fact that the Beatles wrote so many of the songs on the album was revolutionary.
0:20:41 > 0:20:46Producer George Martin witnessed the Lennon-McCartney partnership up close.
0:20:46 > 0:20:48Paul would help John musically
0:20:48 > 0:20:51because I think he had a greater understanding
0:20:51 > 0:20:53of the theory of music.
0:20:53 > 0:20:55John tended to drive the car without a clutch rather.
0:20:55 > 0:20:57He'd just go from one gear to another.
0:20:57 > 0:20:59On the other hand again,
0:20:59 > 0:21:04John would have perhaps more of a mastery of imagery in words
0:21:04 > 0:21:09and would make Paul work harder at his lyrics.
0:21:09 > 0:21:13We very much emulated each other and mirrored each other, really.
0:21:13 > 0:21:16I mean, literally, with me being left-handed.
0:21:16 > 0:21:19It was like looking at yourself and looking at your own thoughts.
0:21:21 > 0:21:24# The world is treating me bad... #
0:21:24 > 0:21:28One of the songs written by Lennon and McCartney on Please Please Me,
0:21:28 > 0:21:32the track, Misery, was just 16 days old,
0:21:32 > 0:21:35written for the singer headlining their tour, Helen Shapiro.
0:21:35 > 0:21:38Paul, you've just come out with this bombshell.
0:21:38 > 0:21:42- You saw the Beatles and Helen Shapiro on that tour in '63.- Yes.
0:21:42 > 0:21:45I also saw the one with Roy Orbison
0:21:45 > 0:21:48and the one with Chris Montez and Tommy Roe.
0:21:48 > 0:21:51It was at Sheffield City Hall.
0:21:51 > 0:21:54I'm going to say, the Beatles were my first gig as well.
0:21:54 > 0:21:57But I don't even remember it. I think I was two.
0:21:57 > 0:21:59My mum took me with a view to posterity.
0:21:59 > 0:22:03- Do you remember anything about it? - Yes.
0:22:03 > 0:22:07I have vivid pictures of it, yes. But, I mean, I would have been 12.
0:22:07 > 0:22:09- I was born in '51.- Right.
0:22:09 > 0:22:11So I would have been 12
0:22:11 > 0:22:15and I distinctly remember Ringo and his style.
0:22:15 > 0:22:19I'd never seen anybody play like that and hit the drums like that.
0:22:19 > 0:22:22- And screaming, presumably, was there?- There was a lot of screaming.
0:22:22 > 0:22:24But then I left and it was OK!
0:22:24 > 0:22:28Shapiro's gig is a significance because they wrote Misery,
0:22:28 > 0:22:30the song you're going to do, for Helen Shapiro.
0:22:30 > 0:22:34- She never ended up doing it though. - I didn't realise that. I had no idea about that.
0:22:34 > 0:22:37We're they the thing that made you want to be a musician?
0:22:37 > 0:22:40Absolutely. I was already playing in a little band.
0:22:40 > 0:22:43I played drums start with but I was into bands like The Shadows
0:22:43 > 0:22:49and when the whole Liverpool thing kicked off, I was gone. That was it.
0:22:49 > 0:22:51I didn't want to do anything else.
0:22:51 > 0:22:53I've still got the wallpaper to prove it!
0:22:53 > 0:22:56Paul, as you can hear, we're in the studio,
0:22:56 > 0:22:59so we'll leave Paul to do Misery.
0:22:59 > 0:23:01Thanks a lot.
0:23:02 > 0:23:06# The world is treating me bad
0:23:06 > 0:23:09# Misery
0:23:11 > 0:23:14# I'm the kind of guy
0:23:15 > 0:23:18# Who never used to cry
0:23:19 > 0:23:23# The world is treating me bad
0:23:23 > 0:23:26# Misery
0:23:28 > 0:23:31# I've lost her now for sure
0:23:32 > 0:23:35# I won't see her no more
0:23:36 > 0:23:40# It's going to be a drag
0:23:40 > 0:23:42# Misery
0:23:45 > 0:23:50# I remember all the little things we've done
0:23:53 > 0:23:59# Can't she see she'll always be the only one
0:23:59 > 0:24:01# Only one
0:24:01 > 0:24:04# Send her back to me
0:24:05 > 0:24:08# 'Cause everyone can see
0:24:09 > 0:24:13# Without her I will be
0:24:13 > 0:24:16# In misery
0:24:18 > 0:24:24# I remember all the little things we've done
0:24:26 > 0:24:32# She'll remember and she'll miss her only one
0:24:32 > 0:24:34# Only one
0:24:34 > 0:24:38# Send her back to me
0:24:39 > 0:24:41# 'Cause everyone can see
0:24:43 > 0:24:46# Without her I will be
0:24:46 > 0:24:49# In misery
0:24:49 > 0:24:51# Oh, yeah
0:24:55 > 0:24:58# Oh-oh-oh-oh
0:25:02 > 0:25:04# Yeah
0:25:07 > 0:25:10# Send her back to me
0:25:12 > 0:25:14# 'Cause everyone can see
0:25:15 > 0:25:19# Without her I will be
0:25:19 > 0:25:22# In misery
0:25:24 > 0:25:27# In misery
0:25:28 > 0:25:30# Baby, misery
0:25:30 > 0:25:32# Yeah, yeah, yeah
0:25:32 > 0:25:35# Misery
0:25:35 > 0:25:37# Oh-oh-oh
0:25:37 > 0:25:39# Misery
0:25:39 > 0:25:41# Baby
0:25:41 > 0:25:44# Misery. #
0:25:46 > 0:25:49The groundbreaking music of the Please Please Me album
0:25:49 > 0:25:52was wrapped up in a striking cover
0:25:52 > 0:25:56with its famous stairwell picture taken by the legendary Angus McBean.
0:25:56 > 0:25:59Eamonn McCabe, one of Britain's finest contemporary photographers,
0:25:59 > 0:26:02has a theory as to why it works so well.
0:26:02 > 0:26:05This picture was taken within seconds.
0:26:05 > 0:26:08Angus McBean, who had been working in his studio with the boys
0:26:08 > 0:26:11and got some reasonable pictures but they weren't happy with them,
0:26:11 > 0:26:14so there was another meeting planned at the headquarters
0:26:14 > 0:26:17in Manchester Square of EMI.
0:26:17 > 0:26:20When Angus comes in, he's just got his camera with him,
0:26:20 > 0:26:23a portrait camera, and someone just yells at him from upstairs.
0:26:23 > 0:26:26And he looked up and he saw this picture and he just said,
0:26:26 > 0:26:29"Are they here?" They said, "Yes they've just arrived." "Get them out."
0:26:29 > 0:26:32And he's got the wrong lens on. He's only got a portrait lens,
0:26:32 > 0:26:35which is quite a long lens to do one person. So he's only got that lens.
0:26:35 > 0:26:39He gets the four of them probably as far away as he can
0:26:39 > 0:26:42in order to get all four in and then he has to do lie on his back.
0:26:42 > 0:26:46Here's a 64-year-old man lying on his back probably looking very, very smart
0:26:46 > 0:26:48in his cravat and his smart shoes and coat.
0:26:48 > 0:26:51Four blokes taking the mick out of him and he's got to take a picture.
0:26:51 > 0:26:55But he got it. When he took about four or five frames, he said, "That will do".
0:26:55 > 0:26:59It's such a moment in time because if you look, Ringo hasn't got a mop top hair cut yet.
0:26:59 > 0:27:02He's still got the Teddy boy hair cut and that's gone in a few weeks.
0:27:02 > 0:27:07He's just arrived, hasn't he? The picture was just taken so quickly and without planning
0:27:07 > 0:27:10because the great thing with Angus was, he was a great ideas man.
0:27:10 > 0:27:13He was the kind of Man Ray of British photography. He would think...
0:27:13 > 0:27:15He came out of the theatre.
0:27:15 > 0:27:19Everything was about lighting and concepts and very controlled, manufactured pictures.
0:27:19 > 0:27:23Here's some of the outtakes, as it were, of the day.
0:27:23 > 0:27:25Does this tell us anything about the session?
0:27:25 > 0:27:29It tells you about a photographer working a room, working a space.
0:27:29 > 0:27:33- That doesn't work.- That doesn't work and that doesn't work. - No.- That's fantastic.
0:27:33 > 0:27:39Then, to be fair to the creatives, the yellow works within the space.
0:27:39 > 0:27:42The red. All these things are so important in cover art.
0:27:42 > 0:27:46In many ways, he was the wrong guy to do it because his main work
0:27:46 > 0:27:50is very surreal, very black and white, very intense and created.
0:27:50 > 0:27:54Nearly every image is created in his head. A great surreal photographer.
0:27:54 > 0:27:57A great star of British photography.
0:27:57 > 0:27:59And he comes up, really, with a newspaper shot,
0:27:59 > 0:28:01done on the hoof, lying on his back.
0:28:01 > 0:28:04But I love that line, "That will do". And he decides that will do.
0:28:08 > 0:28:11At this point 50 years ago, the Beatles were wrestling
0:28:11 > 0:28:14with a McCartney composition called Hold Me Tight.
0:28:14 > 0:28:16But after 13 takes, they still weren't happy with it
0:28:16 > 0:28:18so they decided to shelve it.
0:28:18 > 0:28:21Instead, we're going to hear the title track of the album
0:28:21 > 0:28:25that's already given them their first number one, Please Please Me.
0:28:25 > 0:28:29Performing it are Chris Difford and Glenn Tilbrook from Squeeze,
0:28:29 > 0:28:32accompanied on harmonica by blues legend, Paul Jones.
0:28:40 > 0:28:44# Last night I said these words to my girl
0:28:46 > 0:28:51# I know you never even try girl
0:28:53 > 0:28:54# Come on (Come on)
0:28:54 > 0:28:56# Come on (Come on)
0:28:56 > 0:28:58# Come on (Come on)
0:28:58 > 0:29:00# Come on (Come on)
0:29:00 > 0:29:02# Please please me, oh, yeah
0:29:02 > 0:29:04# Like I please you
0:29:07 > 0:29:12# You don't need me to show the way love
0:29:14 > 0:29:18# Why do I always have to say love
0:29:20 > 0:29:21# Come on (Come on)
0:29:21 > 0:29:23# Come on (Come on)
0:29:23 > 0:29:25# Come on (Come on)
0:29:25 > 0:29:27# Come on (Come on)
0:29:27 > 0:29:29# Please please me, oh, yeah
0:29:29 > 0:29:31# Like I please you
0:29:33 > 0:29:35# I don't want to start complaining
0:29:35 > 0:29:39# But you know there's always rain in my heart
0:29:40 > 0:29:42# I do all the pleasing with you
0:29:42 > 0:29:45# It's so hard to reason with you
0:29:45 > 0:29:48# Oh, yeah, why do you make me blue
0:29:51 > 0:29:56# Last night I said these words to my girl
0:29:58 > 0:30:03# I know you never even try girl
0:30:04 > 0:30:06# Come on (Come on)
0:30:06 > 0:30:08# Come on (Come on)
0:30:08 > 0:30:09# Come on (Come on)
0:30:09 > 0:30:11# Come on (Come on)
0:30:11 > 0:30:14# Please please me, oh, yeah
0:30:14 > 0:30:17# Like I please you Please me, oh, yeah
0:30:17 > 0:30:21# Like I please you Please me, oh, yeah
0:30:21 > 0:30:23# Like I please you. #
0:30:32 > 0:30:36Glenn Tilbrook, Chris Difford and Paul Jones have just come hotfoot from studio two
0:30:36 > 0:30:39and a performance of Please Please Me.
0:30:39 > 0:30:43It's got a famous harmonica line on it. You played the harmonica on that then.
0:30:43 > 0:30:46- Was he any good at the harmonica, John Lennon?- John was very good.
0:30:46 > 0:30:50Actually, we were just talking about it. Do you remember Hey Baby?
0:30:50 > 0:30:51No, I don't.
0:30:51 > 0:30:54# I want to know If you would be my girl. #
0:30:54 > 0:30:55Great record.
0:30:55 > 0:30:59Bruce Channel, fine singer, and that was a terrific song.
0:30:59 > 0:31:04But the thing that really got me with it was the harmonica playing
0:31:04 > 0:31:07and that was a chap called Delbert McClinton.
0:31:07 > 0:31:11It is now said that Delbert actually taught John Lennon,
0:31:11 > 0:31:13which would explain everything
0:31:13 > 0:31:17because John was actually a much better harmonica player
0:31:17 > 0:31:23than most of the people who were quite highly regarded in those days.
0:31:23 > 0:31:25And what about the idea of them doing it in a day?
0:31:25 > 0:31:28How does that seem to you now as musicians?
0:31:28 > 0:31:29Does that seem extraordinary?
0:31:29 > 0:31:32I think it's probably the way to go now, isn't it?!
0:31:32 > 0:31:36I mean, there's not a lot of money around in the music industry
0:31:36 > 0:31:38any more to come into a studio.
0:31:38 > 0:31:40As long as you are equipped with the songs
0:31:40 > 0:31:42and the knowledge of how you're going to record them,
0:31:42 > 0:31:46like Glenn was saying, they had rehearsed and knew exactly what they were going to do.
0:31:46 > 0:31:48It is exactly the way to do it.
0:31:48 > 0:31:50It's about capturing the moment.
0:31:50 > 0:31:53I think that's completely back again now, capturing the moment.
0:31:57 > 0:32:00It's 7:00pm at Abbey Road and it was at this point in 1963
0:32:00 > 0:32:03that the Beatles turned their attention to a song
0:32:03 > 0:32:06that was a particular favourite of John Lennon's.
0:32:06 > 0:32:09Someone else who loves it is Mick Hucknall.
0:32:09 > 0:32:11The song you're going to do, 'Anna',
0:32:11 > 0:32:15reflects how much the Beatles were into black music and R&B music,
0:32:15 > 0:32:18which of course will strike a chord with you, won't it?
0:32:18 > 0:32:21When I first heard them, it was just about the fact that
0:32:21 > 0:32:24they came from the north-west of England, to be honest.
0:32:24 > 0:32:29I didn't know anything about R&B when I was four years old.
0:32:29 > 0:32:33I got my first plastic Beatles guitar when I was five.
0:32:33 > 0:32:36- So that would be 1965.- Wow!
0:32:36 > 0:32:38The first gig I ever did,
0:32:38 > 0:32:42- I was six and I sang I Want To Hold Your Hand.- Did you?- Yes.
0:32:42 > 0:32:45- In a pair of Austrian lederhosen. But we won't go into that.- Are you sure?
0:32:45 > 0:32:48I'm sure lots of people would like to know more about that.
0:32:48 > 0:32:50Was it a professional engagement?
0:32:50 > 0:32:54In the '60s, going on holiday for working-class people
0:32:54 > 0:32:57was completely the most glamorous thing you could imagine.
0:32:57 > 0:33:01One of the ladies who looked after me, she went on holiday
0:33:01 > 0:33:04and she brought me back a pair of Austrian lederhosen.
0:33:04 > 0:33:05So I wore them for the wedding
0:33:05 > 0:33:10and then I got up with a grown-up band and sang that song.
0:33:10 > 0:33:14They were a bit older than me so they were teenagers
0:33:14 > 0:33:18and they had the first two Beatles albums and I was around
0:33:18 > 0:33:22when they were playing it so they were a major part of my upbringing.
0:33:22 > 0:33:25You're a Manc and that's my part of the world as well.
0:33:25 > 0:33:28But there was nothing that the Beatles belonged to Liverpool, was there?
0:33:28 > 0:33:31They belonged, kind of, to us as well, didn't they?
0:33:31 > 0:33:36I always say that before the Beatles, the Northwest of England was famous for George Formby and Gracie Fields.
0:33:36 > 0:33:40We weren't expected to achieve very much, really.
0:33:40 > 0:33:44What they gave us was that we have a future. We can do something.
0:33:44 > 0:33:46I don't think...
0:33:46 > 0:33:49Of course, the Beatles belonged to Liverpool
0:33:49 > 0:33:51but they were ours, too.
0:33:51 > 0:33:56They were the Northwest and you can't begin to describe the influence
0:33:56 > 0:33:58they had on people of that generation.
0:33:58 > 0:34:01It was huge.
0:34:01 > 0:34:03And the song you are going to sing, 'Anna',
0:34:03 > 0:34:06as a singer, what kind of song is it to tackle?
0:34:06 > 0:34:08I love the bridge.
0:34:08 > 0:34:10# All of my life I've been searching. #
0:34:10 > 0:34:13That note. Just getting that note is a great thrill.
0:34:13 > 0:34:16Arthur Alexander, who sang the original,
0:34:16 > 0:34:20John's version is very faithful to the original Arthur Alexander version
0:34:20 > 0:34:25so when I'm singing it, I'm thinking if John can be faithful to it,
0:34:25 > 0:34:28then I'll be faithful to John who was faithful to Arthur,
0:34:28 > 0:34:31so we'll just kind of go that way and keep it simple.
0:34:31 > 0:34:34I always love about the lyric, I don't know if you agree with me,
0:34:34 > 0:34:38I think it sounds like he's saying, if he loves you more than me you should go to him.
0:34:38 > 0:34:42But really he's going, come on, me having said that, who are you going to pick?
0:34:42 > 0:34:45What I love is "Girl, before you go you give back your ring to me".
0:34:45 > 0:34:47- He does want the ring back! - I'm having that ring!
0:34:47 > 0:34:50- Probably because it's not paid for yet!- It would be worth a few quid.
0:35:00 > 0:35:02# Anna
0:35:02 > 0:35:05# You come and ask me, girl
0:35:07 > 0:35:10# To set you free, girl
0:35:11 > 0:35:14# You say he loves you more than me
0:35:14 > 0:35:16# So I will set you free
0:35:16 > 0:35:18# Go with him
0:35:21 > 0:35:22# Go with him
0:35:25 > 0:35:27# Anna
0:35:28 > 0:35:31# Girl before you go now
0:35:33 > 0:35:35# I want you to know now
0:35:37 > 0:35:40# That I still love you so
0:35:40 > 0:35:42# But if he loves you more
0:35:42 > 0:35:44# Go with him
0:35:48 > 0:35:50# All of my life
0:35:50 > 0:35:55# I've been searching for a girl
0:35:55 > 0:35:58# To love me
0:35:58 > 0:36:02# Like I love you
0:36:02 > 0:36:04# Oh, now
0:36:04 > 0:36:08# Every girl I've ever had
0:36:09 > 0:36:12# Breaks my heart and leaves me sad
0:36:13 > 0:36:18# What am I, what am I supposed to do?
0:36:18 > 0:36:21# Oh-oh-oh-oh-oh
0:36:21 > 0:36:22# Anna
0:36:24 > 0:36:26# Just one more thing, girl
0:36:28 > 0:36:31# You give back your ring to me
0:36:31 > 0:36:33# And I will set you free
0:36:33 > 0:36:35# Go with him
0:36:39 > 0:36:41# All of my life
0:36:41 > 0:36:46# I've been searching for a girl
0:36:46 > 0:36:48# To love me
0:36:48 > 0:36:52# Like I love you
0:36:52 > 0:36:55# But let me tell you now
0:36:55 > 0:36:59# Every girl I've ever had
0:37:00 > 0:37:03# Breaks my heart and leaves me sad
0:37:04 > 0:37:09# What am I, what am I supposed to do?
0:37:09 > 0:37:12# Oh-oh-oh-oh-oh-oh
0:37:12 > 0:37:13# Anna
0:37:14 > 0:37:17# Just one more thing, girl
0:37:19 > 0:37:21# You give back your ring to me
0:37:21 > 0:37:24# And I will set you free
0:37:24 > 0:37:26# Go with him
0:37:28 > 0:37:30# Go with him
0:37:31 > 0:37:34# You can go with him, girl
0:37:37 > 0:37:39# Go with him. #
0:37:44 > 0:37:47For some performers, the Beatles aren't just part of pop history.
0:37:47 > 0:37:50They were mates they shared a stage with.
0:37:50 > 0:37:53We've assembled five musicians from four different bands
0:37:53 > 0:37:56who also learned their trade at The Cavern in Liverpool.
0:37:56 > 0:38:00When the record came out, the first Beatles album,
0:38:00 > 0:38:02what was the feeling amongst other bands in Liverpool?
0:38:02 > 0:38:05Was it, great, one of us is making it?
0:38:05 > 0:38:09Or was there a bit of, you've got there first, type of thing?
0:38:09 > 0:38:12I think we knew they had something.
0:38:12 > 0:38:16I mean, they were good-looking.
0:38:16 > 0:38:20They were talented. What else can you say?
0:38:20 > 0:38:24There was something about the blend of their voices as well.
0:38:24 > 0:38:25Other bands had harmonies,
0:38:25 > 0:38:29but their voices seemed to blend together in a very special way.
0:38:39 > 0:38:43Tell us a bit about 'Boys', the song. How did you approach it?
0:38:43 > 0:38:44What kind of song is it?
0:38:44 > 0:38:48It was a B-side on one of my favourite records, actually,
0:38:48 > 0:38:50Will You Still Love Me Tomorrow.
0:38:50 > 0:38:52It was always a B-side
0:38:52 > 0:38:54until all the Liverpool bands started doing it really.
0:38:54 > 0:38:57We actually liked that they gave us that song
0:38:57 > 0:39:00because we loved it that much because the association with the Shirelles.
0:39:00 > 0:39:04For the Merseybeats, our first record was a Shirelles song,
0:39:04 > 0:39:07It's Love That Really Counts. We were always mad on the Shirelles.
0:39:07 > 0:39:10- They were wonderful.- What was it with Mersey bands and the Shirelles?
0:39:10 > 0:39:13You did it, the Beatles did two Shirelles covers on the first album.
0:39:13 > 0:39:16- They were good-looking girls. - Loads of bands did it.
0:39:16 > 0:39:19- The sets were almost the same, you know.- That's interesting.
0:39:19 > 0:39:21They would all be playing the same tunes.
0:39:21 > 0:39:24Was that because you all had the same tunes in your collection
0:39:24 > 0:39:28or because you'd go and see each other and go, "that's a good one, we'll do that".
0:39:28 > 0:39:33- Probably a mixture of both. - These would come and see my band and then they'd copy!
0:39:34 > 0:39:38The way we found these songs, all the bands did from Liverpool,
0:39:38 > 0:39:40we'd all do to a lunchtime session at The Cavern.
0:39:40 > 0:39:44Then we'd go around the corner to Nems and we'd go in a booth
0:39:44 > 0:39:47and listen to all the imports that would come in.
0:39:47 > 0:39:50Then we'd all rush back to try and learn them.
0:39:50 > 0:39:54Whoever learned them first, people would say, "No, that's their song."
0:40:02 > 0:40:05# I been told when a boy kiss a girl
0:40:05 > 0:40:08# That she takes a trip Around the world
0:40:08 > 0:40:12# Hey, Hey (Bop-shuop)
0:40:12 > 0:40:14# Hey, Hey (Bop-shuop)
0:40:14 > 0:40:17# Hey, Hey (Bop-shuop)
0:40:17 > 0:40:20# Say you do (Bop-shuop)
0:40:22 > 0:40:24# My girl says when I kiss her lips
0:40:24 > 0:40:27# She gets a thrill Through her fingertips
0:40:27 > 0:40:30# Hey, hey (Bop-shuop)
0:40:30 > 0:40:34# Hey, hey (Bop-shuop)
0:40:34 > 0:40:36# Hey, hey (Bop-shuop)
0:40:36 > 0:40:40# Say you do (Bop-shuop)
0:40:40 > 0:40:42# Well, I talking about boys (Yeah, yeah, boys)
0:40:42 > 0:40:46# Don't you know I mean boys (Yeah, yeah, boys)
0:40:46 > 0:40:48# Well, I'm talking about boys (Yeah, yeah, boys)
0:40:48 > 0:40:51# Don't you know I mean boys (Yeah, yeah, boys)
0:40:51 > 0:40:55# Well, I'm talking about boys (Yeah, yeah, boys)
0:40:55 > 0:40:58# What a bundle of joy (Yeah, yeah, boys)
0:41:17 > 0:41:20# Well, I'm talking about boys (Yeah, yeah, boys)
0:41:20 > 0:41:23# Don't you know I mean boys (Yeah, yeah, boys)
0:41:23 > 0:41:26# Well, I'm talking about boys (Yeah, yeah, boys)
0:41:26 > 0:41:30# Don't you know I mean boys (Yeah, yeah, boys)
0:41:30 > 0:41:33# Well, I'm talking about boys (Yeah, yeah, boys)
0:41:33 > 0:41:36# What a bundle of joy (Yeah, yeah, boys)
0:41:55 > 0:41:58# Well, I'm talking about boys (Yeah, yeah, boys)
0:41:58 > 0:42:01# Don't you know I mean boys (Yeah, yeah, boys)
0:42:01 > 0:42:05# Well, I'm talking about boys (Yeah, yeah, boys)
0:42:05 > 0:42:08# Don't you know I mean boys (Yeah, yeah, boys)
0:42:08 > 0:42:11# Well, I'm talking about boys (Yeah, yeah, boys)
0:42:11 > 0:42:15# What a bundle of joy (Yeah, yeah, boys)
0:42:15 > 0:42:17# Well, I'm talking about boys (Yeah, yeah, boys)
0:42:17 > 0:42:21# Don't you know I mean boys (Yeah, yeah, boys)
0:42:21 > 0:42:24# Well, I'm talking about boys (Yeah, yeah, boys)
0:42:24 > 0:42:27# Don't you know I mean boys (Yeah, yeah, boys)
0:42:27 > 0:42:30# Well, I'm talking about boys (Yeah, yeah, boys)
0:42:30 > 0:42:33# What a bundle of joy (Yeah, yeah, boys). #
0:42:41 > 0:42:46By 9:00pm, the Beatles were really having to speed up to get the album done in a day.
0:42:46 > 0:42:50They stayed in a girl group vibe with a version of 'Chains',
0:42:50 > 0:42:52a 1962 hit for The Cookies.
0:42:54 > 0:42:58Performing live on Radio Two with their version is I Am Kloot.
0:43:15 > 0:43:17# Chains
0:43:18 > 0:43:22# My baby's got me Wrapped up in chains
0:43:22 > 0:43:24# But they ain't the kind
0:43:26 > 0:43:28# That you can see
0:43:31 > 0:43:33# These chains of love
0:43:37 > 0:43:39# Got a hold on me
0:43:39 > 0:43:41# Chains
0:43:41 > 0:43:45# My baby's got me Wrapped up in chains
0:43:45 > 0:43:47# But they're not the kind
0:43:49 > 0:43:51# That you can see
0:43:54 > 0:43:56# These chains of love
0:44:00 > 0:44:02# They're all over me
0:44:06 > 0:44:09# I want to tell you pretty baby
0:44:10 > 0:44:12# That you're looking fine
0:44:13 > 0:44:17# You're clever, clever In your leather
0:44:17 > 0:44:20# These chains are round my mind
0:44:20 > 0:44:22# I'm in chains
0:44:24 > 0:44:26# You've got me wrapped up in chains
0:44:26 > 0:44:29# They're not the kind
0:44:31 > 0:44:33# That you can see
0:44:36 > 0:44:38# These chains of love
0:44:42 > 0:44:44# They're all over me
0:44:48 > 0:44:51# I want to tell you pretty baby
0:44:51 > 0:44:54# That you look divine
0:44:56 > 0:44:58# Clever, clever in your leather
0:44:59 > 0:45:02# Tethered to my mind
0:45:02 > 0:45:04# There are chains
0:45:05 > 0:45:07# Chains
0:45:07 > 0:45:08# Chains
0:45:18 > 0:45:21# There are chains. #
0:45:39 > 0:45:43# Sha-la-la-la-la-la-la. #
0:45:45 > 0:45:50At 9:30pm, the Beatles started rehearsing the second Shirelles number that day.
0:45:50 > 0:45:53The Burt Bacharach song, Baby, It's You.
0:45:53 > 0:45:57Half a century later, Graham Coxon from Blur is doing the same thing.
0:45:59 > 0:46:04Meanwhile, down the corridor, Jo Whiley is live on Radio Two,
0:46:04 > 0:46:07talking on the phone to Mr Bacharach himself.
0:46:08 > 0:46:10- Hi, how are you?- 'Happy celebration.'
0:46:10 > 0:46:14It is a celebration. Thank you. That was absolutely spot-on.
0:46:14 > 0:46:18When were you first aware of the Beatles covering 'Baby It's You'?
0:46:18 > 0:46:21Do you remember how you felt about their interpretation of it?
0:46:21 > 0:46:25'I went while knowing that they had recorded it.
0:46:25 > 0:46:27'I can be funny like that.
0:46:27 > 0:46:30'In the sense that I'm almost afraid to listen to it
0:46:30 > 0:46:35'because maybe it won't come up to what I'm hoping for.
0:46:37 > 0:46:40'When I did get to it, there was nothing to be concerned about!
0:46:40 > 0:46:43'Nothing to worry about. It was an absolute joy.'
0:46:45 > 0:46:49Baby, It's You by Burt Bacharach. That's a big ask, isn't it?
0:46:49 > 0:46:52A Burt Bacharach song, performed by the Shirelles, covered by the Beatles.
0:46:52 > 0:46:55It is, actually. I didn't realise it was going to be.
0:46:55 > 0:46:57I just thought, it's a little-known Beatles track.
0:46:57 > 0:47:00But I'll research it and I'll have a little look
0:47:00 > 0:47:03and I listened to the Shirelles one. That was very nice.
0:47:03 > 0:47:05Then I was like, "Burt Bacharach, oh, crikey!"
0:47:05 > 0:47:10Because, you know, being a creaky voiced indie boy,
0:47:10 > 0:47:14I suppose the idea of what's pretty much a soul song,
0:47:14 > 0:47:18a girl group soul song thing, is kind of scary.
0:47:21 > 0:47:24Did you have the Beatles in common in Blur? Were you all Beatles fans?
0:47:26 > 0:47:30Not really. I think I seemed to be the fanatic.
0:47:30 > 0:47:32- You were the fanatic, weren't you?- Yes.
0:47:33 > 0:47:38The others don't seem to really mention the Beatles at all. I never really thought about that.
0:47:38 > 0:47:41- But I do think people who don't like the Beatles are very weird.- I do too.
0:47:41 > 0:47:44I think they're doing it for affectation, don't you?
0:47:44 > 0:47:46If you get people who say they don't like the Beatles,
0:47:46 > 0:47:51- I think you're just saying that because you think it's going to impress me and it's not.- No.
0:47:51 > 0:47:54It's like if you like literature and you say I don't like Shakespeare,
0:47:54 > 0:47:56well that is idiotic, isn't it?
0:47:56 > 0:47:59And if you say you like pop music but you don't like the Beatles...
0:47:59 > 0:48:01- It is idiotic.- There you go.
0:48:01 > 0:48:04But there are some people that just don't.
0:48:05 > 0:48:07# (Sha-la-la-la-la-la-la)
0:48:08 > 0:48:11# (Sha-la-la-la-la-la-la)
0:48:13 > 0:48:15# (Sha-la-la-la-la-la-la)
0:48:15 > 0:48:17# (Sha-la-la-la-la)
0:48:17 > 0:48:19# It's not the way you smile
0:48:19 > 0:48:21# That touched my heart
0:48:23 > 0:48:25# (Sha-la-la-la-la)
0:48:25 > 0:48:27# It's not the way you kiss
0:48:27 > 0:48:29# That tears me apart
0:48:32 > 0:48:36# Many, many, many nights go by
0:48:36 > 0:48:40# I sit alone at home and cry
0:48:40 > 0:48:42# Over you
0:48:42 > 0:48:44# What can I do
0:48:45 > 0:48:47# I can't help myself
0:48:49 > 0:48:51# 'Cause baby, it's you
0:48:51 > 0:48:53# (Sha-la-la-la-la-la-la)
0:48:53 > 0:48:55# Baby, it's you
0:48:55 > 0:48:57# (Sha-la-la-la-la-la-la)
0:48:57 > 0:48:59# (Sha-la-la-la-la)
0:48:59 > 0:49:02# You should hear what they say
0:49:02 > 0:49:04# About you
0:49:04 > 0:49:07# (Sha-la-la-la-la)
0:49:07 > 0:49:10# They say you'll never, never, ever
0:49:10 > 0:49:12# Be true
0:49:12 > 0:49:14# (Cheat, cheat)
0:49:14 > 0:49:18# Oh, it doesn't matter what they say
0:49:18 > 0:49:22# I know I'm going to love you Any old way
0:49:22 > 0:49:24# What can I do
0:49:24 > 0:49:26# When it's true
0:49:28 > 0:49:31# Don't want nobody, nobody
0:49:32 > 0:49:34# 'Cause baby, it's you
0:49:34 > 0:49:36# (Sha-la-la-la-la-la-la)
0:49:36 > 0:49:38# Baby, it's you
0:49:38 > 0:49:40# (Sha-la-la-la-la-la-la)
0:49:57 > 0:50:01# Oh, it doesn't matter what they say
0:50:01 > 0:50:05# I know I'm going to love you Any old way
0:50:05 > 0:50:07# What can I do
0:50:07 > 0:50:08# When it's true
0:50:10 > 0:50:13# Don't want nobody, nobody
0:50:15 > 0:50:16# 'Cause baby, it's you
0:50:16 > 0:50:18# (Sha-la-la-la-la-la-la)
0:50:18 > 0:50:20# Baby, it's you
0:50:20 > 0:50:23# (Sha-la-la-la-la-la-la)
0:50:23 > 0:50:24# Don't leave me all alone
0:50:24 > 0:50:27# (Sha-la-la-la-la-la-la)
0:50:27 > 0:50:29# Come on home
0:50:29 > 0:50:31# (Sha-la-la-la-la-la-la)
0:50:33 > 0:50:37# (Ooooh). #
0:50:40 > 0:50:46At 10:00pm on 11 February 1963, the Beatles had ground to a halt.
0:50:46 > 0:50:49With 10 songs recorded, they needed one more.
0:50:49 > 0:50:54Someone who was there and who would accidentally shape music history
0:50:54 > 0:50:56was a young journalist from the NME.
0:50:56 > 0:50:58Tell me about that day 50 years ago, Alan.
0:50:58 > 0:51:00It was absolute magic.
0:51:00 > 0:51:03I arrived at the studio quite late in the day.
0:51:03 > 0:51:08I just caught it in time. They were about to do the last track.
0:51:08 > 0:51:12But they decided to have a break and I think George Martin suggested,
0:51:12 > 0:51:15"Hey, guys, why don't you just go and have a cup of tea?"
0:51:15 > 0:51:17How rock 'n' roll can you be!
0:51:17 > 0:51:21So we went up to this tiny room that doesn't exist anymore.
0:51:21 > 0:51:24Very, very tiny. About a couple of square yards.
0:51:24 > 0:51:30We just crowded in there and I think it was George who said,
0:51:30 > 0:51:33"What are we going to do for the last number?"
0:51:33 > 0:51:37I said, "I thought I heard you do La Bamba a few weeks ago on the radio."
0:51:37 > 0:51:39I probably said the wireless!
0:51:39 > 0:51:42And Paul McCartney looked a bit blank and said,
0:51:42 > 0:51:45"You mean Twist And Shout."
0:51:48 > 0:51:50And I said, "Yeah, 'Twist And Shout."
0:51:50 > 0:51:52So they looked at each other and said,
0:51:52 > 0:51:54"Shall we do Twist And Shout?"
0:51:54 > 0:51:57It was a glorious moment. They went down into the studio.
0:51:57 > 0:52:01'The last song was a song called Twist And Shout, which nearly killed me.'
0:52:01 > 0:52:03- And stripped to the waist.- Yes.
0:52:03 > 0:52:07I think he had taken his shirt off. He had certainly opened it anyway.
0:52:07 > 0:52:09I'm never one to show dance movements
0:52:09 > 0:52:12but I was actually jumping up and down.
0:52:12 > 0:52:15It's an abiding memory and of course, it did quite well.
0:52:15 > 0:52:17It did all right, didn't it?!
0:52:17 > 0:52:21# Just like I knew you would (Like I knew you would)
0:52:21 > 0:52:23# Well, shake it up baby now. #
0:52:23 > 0:52:27It's just coming up to 10:30pm on February 11, 1963
0:52:27 > 0:52:29and the end of a historic 12 hours
0:52:29 > 0:52:33and the most productive 585 minutes in the history of music.
0:52:33 > 0:52:36We hope we've captured some of the spirit of that day
0:52:36 > 0:52:39and I'm going to leave you with the song that finally did for John Lennon's voice
0:52:39 > 0:52:42and did wonders for local sales of cough tablets!
0:52:42 > 0:52:45With the task of bringing the day to a close,
0:52:45 > 0:52:49one of Britain's finest voices, Miss Beverley Knight.
0:52:49 > 0:52:50One, two, three.
0:52:57 > 0:53:00# Well, shake it up baby now (Shake it up baby)
0:53:00 > 0:53:04# Twist and shout (Twist and shout)
0:53:04 > 0:53:06# Come on, come on, come on Come on baby now
0:53:06 > 0:53:08# (Come on baby)
0:53:08 > 0:53:11# Come on and work it all out (Work it all out)
0:53:11 > 0:53:15# Work it all out now, honey (Work it on out)
0:53:15 > 0:53:18# You know you look so good (Look so good)
0:53:18 > 0:53:22# You know you've got me going now (Got me going)
0:53:22 > 0:53:26# Just like I knew you would (Like I knew you would)
0:53:26 > 0:53:30# Well, shake it up baby now (Shake it up baby)
0:53:30 > 0:53:33# Twist and shout (Twist and shout)
0:53:33 > 0:53:36# Come on, come on, come on Come on baby
0:53:36 > 0:53:38# (Come on baby)
0:53:38 > 0:53:41# Come on and work it all out (Work it all out)
0:53:41 > 0:53:44# You know you twist a little girl (Twist little girl)
0:53:44 > 0:53:48# You know you twist so fine (Twist so fine)
0:53:48 > 0:53:52# Come on and twist a little closer (Twist a little closer)
0:53:52 > 0:53:55# And let me know you're mine (Know you're mine)
0:53:55 > 0:53:57# Oh, yeah
0:54:12 > 0:54:14# Ah
0:54:14 > 0:54:15# Ah
0:54:15 > 0:54:17# Ah
0:54:17 > 0:54:19# Ah
0:54:19 > 0:54:22# Ah
0:54:22 > 0:54:25# Baby (Shake it up baby)
0:54:25 > 0:54:28# Twist and shout (Twist and shout)
0:54:28 > 0:54:32# Come on, come on baby (Come on baby)
0:54:32 > 0:54:36# Come on and work it all out (Work it all out)
0:54:36 > 0:54:39# You know you twist a little girl (Twist a little girl)
0:54:39 > 0:54:43# You know you twist so fine (Twist so fine)
0:54:43 > 0:54:47# Come on and twist a little closer (Twist a little closer)
0:54:47 > 0:54:51# And let me know you're mine (Know you're mine)
0:54:51 > 0:54:53# Hey
0:55:07 > 0:55:09# Ah
0:55:09 > 0:55:11# Ah
0:55:11 > 0:55:12# Ah
0:55:12 > 0:55:14# Ah
0:55:14 > 0:55:17# Ah
0:55:17 > 0:55:20# Shake it up baby (Shake it up baby)
0:55:20 > 0:55:23# Come on and twist and shout (Twist and shout)
0:55:23 > 0:55:28# Come on, come on baby (Come on baby)
0:55:28 > 0:55:31# Come on and work it all out (Work it all out)
0:55:31 > 0:55:35# You know you twist a little girl (Twist little girl)
0:55:35 > 0:55:38# You know you twist so fine (Twist so fine)
0:55:38 > 0:55:42# Come on and twist a little closer (Twist a little closer)
0:55:42 > 0:55:46# Better let me know that you're mine (Know you're mine)
0:55:46 > 0:55:48# Well, shake it, shake it Shake it baby
0:55:48 > 0:55:50# (Shake it up baby)
0:55:50 > 0:55:53# Shake it, shake it, shake it baby (Shake it up baby)
0:55:53 > 0:55:57# Oh, shake it (Shake it up baby)
0:55:57 > 0:56:01# Shake it, shake it, shake it baby (Shake it up baby)
0:56:01 > 0:56:04# Shake it, shake it baby (Shake it up baby)
0:56:04 > 0:56:08# Shake it, shake it (Shake it up baby)
0:56:08 > 0:56:10# Oh, yeah
0:56:10 > 0:56:11# Ah
0:56:11 > 0:56:13# Ah
0:56:13 > 0:56:15# Ah
0:56:19 > 0:56:25# Oh, yeah. #
0:56:27 > 0:56:29CHEERING AND APPLAUSE
0:57:00 > 0:57:02Subtitles by Red Bee Media Ltd