I remember doing the vocal to “Kansas City”—well I couldn’t quite get it, because it’s hard to do that stuff. You know, screaming out the top of your head. You came down from the control room and took me to one side and said, “You can do it, you’ve just got to scream, you can do it.” So, thank you. Thank you for that. I did it.

HERE’S A MOVIE WITH MICK JAGGER AND JOHN LENNON TALKING, THEN JOHN SINGS YER BLUES WITH THE ERIC CLAPTON, KEITH RICHARDS AND MITCH MITCHELL FROM THE JIMI HENDRIX EXPERIENCE!

Hilarious Interview Clip
“Ringo, we brought you the grapes!”

Brian Matthew: The next few minutes, we’re in the lap of the gods and the hands of the Beatles. In my young days, when I was a lad, they used to have actors in films and now that they—
Paul: Yes?
John: Hey! Listen!
Paul: It’s all changed, now, Brian. They’re not doing that, no actors.
John: It’s all changed, now.
Brian: But this is what I wonder. In those days, the actors used to say their best bits were left on the cutting room floor. Did you find that?
John: No, no, no, those were the good bits in the film. You should have seen the rest.
Brian: Yes?
John: Rubbish!
Brian: Was it, really?
John: Even worse, yes.
Brian: Who was worst?
John: Oh, Paul.
Brian: I see.
Paul: I think John was about the worst.
John: No, it was you.
Paul: Oh, Ringo was very good. He was. He’s a good lad.
Brian: He was. They’re saying he’s a new Charlie Chaplin. Do you think that’s right?
John: He was miming.
Paul: You, too, with Jason.
John: Oh, yes, he’s an old one. Okay, Ring?
Brian: Beginning to look like that. Now, then—
Ringo: All right, John. Can you hear me?
Paul: Can you hear him? Hello!
Brian: Not really. I hope not. I hope not!
John: We brought you the flowers, Ring.
Brian: He’s not allowed to talk.
Ringo: Eh?
John: We brought you the flowers.
Ringo: Oh, good.
John: And the grapes.
Ringo: Oh, I like grapes.
Paul: He likes grapes.
George: We’ve been to Portugal.
Brian: Guess who’s, guess who’s top of the pops in Portugal, then.
All: Who?
Brian: Los Beatles.
John: Los Beatles? Great, great laugh.
Brian: I don’t suppose you know the title of your film in Portuguese?
John: No. Crinsk dee Night?
Brian: Could be. Let’s hear the number, shall we?
John: Right.

Interview Clip

Rodney Burke: I’ve got one card here and it’s on the same subject, eh, but this one says, “We think the show is great and we dig the Beatles the most, but we still haven’t heard a word from Ringo yet.”
Ringo: Arf! Arf! Arf! Arf!
Rodney: “And how about him singing?” Well, what will you sing for us, Ringo? Will you say a few words?
Ringo: Hello, there, kiddies. I’d like to sing a song for you today called “Matchbox.” There you go.
Rodney: Set fire to that lot. Okay, Ringo, thanks very much.
Ringo: Don’t you et smart with me, you know.
Rodney: Do you mind? Get over to your microphone, “Matchbox.”

Honey Don’t- Although John Lennon had previously sung the song live, Ringo Starr performed it for the album. My favorite part of the song is during the song, he yells remarks leading into Harrison’s guitar riffs, saying, “Rock on George, one time for me!” and then “Rock on, George, for Ringo one time!” George Harrison was a fan of Perkins, and Starr sang “Honey Don’t” during the Concert for George which was held at the Royal Albert Hall, London on November 29, 2002, the first anniversary of Harrison’s death

I Feel Fine - This beginning of this song is SO COOL. This song is on Rolling Stone’s list of “Greatest Guitar Riffs”. It’s a riff-driven rock song written primarily by John Lennon. The intro to “I Feel Fine” starts with a single, percussive (yet pure-sounding) note (a high “A”) played on McCartney’s Hofner bass guitar that sustains, perhaps beyond any song previously recorded. It is then transformed and distorted via feedback. According to McCartney, “John had a semi-acoustic Gibson guitar. It had a pick-up on it so it could be amplified… We were just about to walk away to listen to a take when John leaned his guitar against the amp. I can still see him doing it… it went, ‘Nnnnnnwahhhhh!” And we went, ‘What’s that? Voodoo!’ ‘No, it’s feedback.’ Wow, it’s a great sound!’ George Martin was there so we said, ‘Can we have that on the record?’ ‘Well, I suppose we could, we could edit it on the front.’ It was a found object, an accident caused by leaning the guitar against the amp. This song was completely written around the riff. John wrote the guitar riff first, and then made a song around it.

What You’re Doing - a song written by Paul McCartney. The song begins, uncommonly for the band, with a drum intro. The lyrics are generally believed to concern McCartney’s relationship with Jane Asher. Between McCartney and Lennon, McCartney had typically been the more optimistic of the two when it came to songwriting. However, with this song he is expressing feelings of loneliness and doubt in his relationship, a theme he would be forced to develop more over time as his relationship soured, with songs like I’m Looking Through You and You Won’t See Me from Rubber Soul, and For No One from Revolver.

Eight Days A Week - Although principally sung by Lennon, the initial idea for Eight Days A Week came from McCartney. He had the idea for the title following a remark from his chauffeur. Paul: “I remember writing that with John, at his place in Weybridge, from something said by the chauffeur who drove me out there. John had moved out of London. to the suburbs. I usually drove myself there, but the chauffeur drove me out that day and I said, ‘How’ve you been?’ - ‘Oh, working hard,’ he said, ‘working eight days a week.’ I had never heard anyone use that expression, so when I arrived at John’s house I said, ‘Hey, this fella just said, “eight days a week”.’ John said, ‘Right - “Ooh I need your love, babe…” and we wrote it We were always quick to write. We would write on the spot. I would show up, looking for some sort of inspiration; I’d either get it there, with John, or I’d hear someone say something.John and I were always looking for titles. Once you’ve got a good title, if someone says, ‘What’s your new song?’ and you have a title that interests people, you are halfway there. Of course, the song has to be good. If you’ve called it I Am On My Way To A Party With You, Babe, they might say, ‘OK…’ But if you’ve called it Eight Days A Week, they say, ‘Oh yes, that’s good!’ Although it was a huge American hit, the group didn’t think highly of the song (Lennon called it “lousy”) and never perormed it live.