Anthology, 2003 DVD Version: Episode 1

00:00 Titles, screams fade out from 00:27

00:31 Liver Building, Mersey river

00:55 _In My Life_ montage begins

02:17 Separate clips of Mal Evans and Derek Taylor

03:21 _The Wild Ones_ "...all the Beetles missed you" (This [appears again later](#1&dvd74) and that appearance is retained in the Disney+ version.)

03:31 Opening titles of _Help!_

03:40 Cycling scene from _Help!_ (noticeably poor quality - transferred from early home video release?)

03:50 "Let's go back 'n back 'n..." high speed photo montage begins

04:04 _We'll Meet Again_

05:03 George: "At the time I was born my father's job was driving a bus, and I lived in a two-up and two-down, 12 Arnold Grove."

05:30 Footage of nurses attending to wounded soldier.

05:36 Paul: "My mum was a nurse..." up to George: "She had lots of brothers and sisters."

06:25 George: "My grandmother used to live in Albert Grove, which was next to Arnold Grove."

06:59 George: "When my parents were younger they used to have to listen on an old crystal radio set, sometimes known as The Cat's Whisker."

07:07 Paul: "John really loved his mother, 'cause she was great, I loved her too. And she played a little ukulele."

07:12 Paul: "Which to this day, if I ever meet grown-ups, y'know, who play ukuleles I love 'em."

07:17 Ringo: "Everybody has their party piece in Liverpool. You have to sing a song, and my mother's was _Little Drummer Boy_, she would sing to me, and I would sing _Nobody's Child_ to her, and she'd always cry! I'm nobody's child, _mum_." (Interviewer Jools Holland can be heard laughing.)

07:33 _C'mon Everybody_ (John V/O)

07:49 _Rocket '88_ (no V/O)

08:06 _That's Alright Mama_ - Paul: "You can't imagine a time when rock and roll was only one of the musics".

08:18 _No Other Love Have I_ - George: "Whatever record was being played, you try'd and listen to it. Y'know, you couldn't even get a cup o' sugar, let alone a rock and roll record."

08:32 _Aint That a Shame_ - John: "There was no such thing as an English record, y'know. I think the first English record that was anywhere near anything was _Move It_ by Cliff Richard, and before that there'd been nothing."

08:42 _How Much is That Doggy In the Window_ - George: "You'd listen to whatever was on the radio, because the radio was the main thing in those days."

08:50 _Long Tall Sally_

08:57 Ringo: "I was listening to a lot of Country and Western then, Skiffle was coming through."

09:01 Nancy Whiskey performs _Freight Train_

09:17 _That'll Be the Day_

09:32 Paul: "There were lots of people coming up then. And one of them was Buddy Holly. We loved his vocal sound and we loved his guitar playing. But most of all was the fact that he wrote the stuff himself. That's what turned us on."

09:48 John: "When I went to art school, I was at art school for five years, this was a sort of college, they would only allow jazz to be played, they wouldn't allow rock and roll, it was frowned upon in those days, so we had to con them into letting us play rock and roll on the record player by calling it blues, y'know."

10:03 George: "When I was a teenager, I think I was about 12 or 13 when I first heard Fats Domino. _I'm In Love Again_, that's I think what I would call the first rock and roll record I heard."

10:18 Ringo: "Even Bill Hailey was around then."

10:20 Paul: "I remember being in school when I was a kid and somebody had a picture in one of the musical papers of Elvis..."

10:57 _Hound Dog_ live performance

11:24 Paul: "One of our favourite records around that time was one called _Searchin'_, by the Coasters"

11:26 _Searchin'_

11:49 George: "We got to hear people like Big Bill Broonzy, I think he might even have done a tour of England."

11:53 _When Did You Leave Heaven_

12:21 Ringo: "I was a big fan of his, and, actually, Frankie Laine."

12:24 _Jezebel_

12:39 John: "Y'know, all those train songs, and y'know, Rock Island Line, all that stuff."

12:44 _Rock Island Line_

13:04 Paul: "Suddenly here was a rock and roll hero who had glasses."

13:05 _Peggy Sue_ live performance

13:26 George: "The first music I can remember hearing as guitar-oriented music was this record my dad brought from New York, it was a guy called Jimmie Rodgers, The Singing Breakman."

13:34 _T for Texas_

13:56 John: "I had no idea about doing music as a way of life, until rock and roll hit me, and when rock and roll hit me that changed my whole life."

14:05 Ringo: "Drums were the only thing I wanted. And I came out and I used to look in shops and see drums, that's all I looked at, never looked at guitars or anything."

14:11 Paul: "My dad used to be a trumpet player himself, and for my birthday he once bought me a trumpet, from Rushworth and Dreapers, which was one of the music stores in Liverpool." **Just interview footage, no photo of the shop.**

14:22 John: "And when I was 16 I re-established a relationship with my mother for about four years, she taught me music, she first of all taught me the banjo, and from that I progressed to guitar. The first song I learnt was _Ain't That A Shame_, an old rock hit, Fats Domino."

14:35 George: "When I was 13, 14, I used to be at the back of the class, drawing, trying to draw guitars..." up to "I got the £3 10s from me mother, that was a lot of money in those days."

15:08 "But I suddenly figured out I wouldn't be able to sing with this thing stuck in me mouth. So I went back to the shop and traded it in for a guitar. So that was a Zenith. First guitar I ever had."

15:22 Ringo: "I was about 16, I bought a 30 bob bass drum - 30 shillings - huge mother! Just a huge one-sided bass drum."

15:33 John: "It was a joke in the family, it's alright for a hobby, but it won't earn you any money."

15:38 Paul: "Sometimes we'd travel the whole of Liverpool just to go to someone who knew a chord we didn't know. I remember once hearing about a bloke who knew B7, now we knew E and we knew A, quite easy, but we didn't know B7, that was the missing part, the link, the other chord, the lost chord. So, on we got, on the bus, trooped across Liverpool, changed a couple of buses, found this fella, and he showed us... B7, we learned it off him, got back on the bus, went home to our mates, and went, 'Zzjing! Got it!'."

16:16 George: "Yeah, Paul and I just began to get together, played a bit, but it was just schoolboys then, there was no groups involved until a little bit later."

16:26 Jump cut to the Beatles at the height of Beatlemania performing Twist and Shout, brief montage of one live performance and the often-used studio lip-sync in black turtle necks.

16:32 George: "In those days, y'know, they say beggars can't be choosers, and we we're just desperate, you'd just get anything, whatever film came, you'd just try and see it." (Some reaction noises from Jools Holland toward the end.)

16:40 _Ready Teddy_ from _The Girl Can't Help It_ (looks like poor transfer from video tape, 4:3)

16:54 John: "Y'know, you went to see those movies with somebody in it like Elvis, when we were still in Liverpool, and you'd see everybody waiting to see him, and I'd be waiting there too, and they'd all scream when he came on the screen, so we thought 'That's a good job!'"

17:09 Paul: "So when _The Girl Can't Help It_ came along, instead of us looking at these old black and white movies **and thinking _There's Clyde McPhatter, there's Fats Domino_, people we loved, who were being treated quite shabbily**, suddenly this was in colour, and this was in widescreen, and there's a famous..." up to the clip of Jayne Mansfield. Clips of Tom Ewell's intro are all sadly aspect-ratio distorted into 4:3 which undermines the magic of him clicking his fingers to make it widescreen.

18:25 Ringo: "I went to see _Rock Around the Clock_ in the Isle of Man, my grandparents took me there after I came out of hospital, and it was just sensational because they ripped up the cinema, and this was good for me to see."

18:38 _Rock Around the Clock_

18:58 Neil Aspinall: "I went to school with Paul, to Grammar school, and we were both in the same class, in the first year, and then we went off into different streams, but basically I knew him since I was about 11, I guess, but didn't really know him, as like a friend, until a number of years later. I met George at the Liverpool Institute as well, he was a year younger than Paul and I, and I met George, we used to smoke behind the air raid shelters together."

19:31 Paul: "George and I lived very near each other in Liverpool, in fact we were just a bus stop away from each other - I'd get on the bus, and then the stop after, George would get on. So being quite close in age we'd sit together and talk about stuff and that. **In fact, I think he was about one and a half years younger than me, that's quite a big age difference at that time**, so, I suppose I used to talk down to him a little bit, **as you do to a kid who's one and half years younger than you, he's 14 and a half, and I'm sort of, 16, y'know**, might have been a failing of mine, to talk down to him, 'cause I'd known him as a younger kid."

20:09 George: "He was always nine months older than I. Even now he's still nine months older than me!" (This is on camera, with laughter from Jools Holland.)

20:17 John: "Paul met me the first day I did _Be-Bop-a-Lula_ live on stage..." up to Paul: "Sure enough, note perfect, _Raunchy_. You're in."

24:21 _That'll Be the Day_ by the Quarry Men, over black and white Jacaranda club footage.

25:39 Paul: "We used to show up for gigs with just three guitars. And the person booking us would say, um, where's the drums then? And to cover this eventuality we'd say 'The rhythm's in the guitars.'"

27:25 Paul: "We were all slightly jealous of John's friendship. **John being a little bit older, certainly than me, certainly than George, it was a little bit, y'know, you wanted to sit next to him on a bus, and stuff like... he was the older feller, y'know, it's just, the way it was.** So when Stuart came in, it was a little bit, he was taking a little bit of that position away from us. We had to take a little bit of a back seat.

28:39 Quarrymen tapes over recreated black and white scenery with a tape machine playing until the tape appears to run out, with no voice over.

30:33 John: "Ringo was a professional drummer who sang and performed, and had 'Ringo Starr Time', and he was in one of the top groups in Liverpool before we even had a drummer."

30:44 Ringo: "Rory and the Hurricanes, they were one of the first in Liverpool who really wanted to get into rock and roll. Because we were playing skiffle then. And he had this rock and roll blond hair attitude. Johnny Guitar was, for me, Liverpool's Jimi Hendrix. And the one really good story about Rory and the Hurricanes, of which I was a member, we were playing the Cavern, and Johnny Guitar brought a radio with him, and he'd plugged his guitar into the radio, so we could be a bit more rock and roll. And they threw us off! For being rock and roll, plugged into the radio. GET OFF!"

31:26 Ringo: "John thought of the name Beatles and he'll tell you about it now."

31:56 George: "John got the name Beatles [John interjects "In a vision!"], ages ago, when we wanted, when we needed a name, and everyone was thinking of names, and he thought of Beatles."

32:17 _The Wild Ones_ "...all the Beetles missed you" clip again.

32:14 Paul on Alan Williams: "And he eventually got us an audition that was held at one of his clubs, called The Blue Angel, and it was for Larry Parnes, who had a big stable, so-called, of rock stars down in London, so this was like a big opening, to get this audition. We showed up there, half the groups in Liverpool showed up there that day. And there were photos being taken, as a record, y'know, this is us at the audition, something for Larry to look over, whatever, and we always unfortunately had to ask Stuart to turn a little bit away from the camera, because he couldn't play that well, we might be in A, and he might be in A-flat, and we thought someone'd spot this, 'cause we always look to see where people were on the guitars, so we'd ask him to sort of turn away a bit, so there are a few photos of Stuart, moodily, with his back to the camera, y'know, that was the reason, there. But we eventually got that audition, I think Larry picked up quite a few groups at that audition. And our only disappointment was that all the people in his stable were like, Marti Wilde, they all had very kind of furious names, Billy Fury, Somebody Tempest, Storm, Hurricane, they were all tempestuous names, y'know."

34:11 Clip from a news report on Larry Parnes's stable of artistes, giving their real names and aliases, and how much they expected to earn.

34:27 And of course we thought this will be great, y'know, well we ended up with this bloke called Johnny Gentle. Slight disappointment in the name department there.

34:36 Continued clip of about Larry Parnes.

35:06 They didn't really like the name The Beatles, so they wanted to come up with something more imaginative, so they came with Long John Silver and the Beatles - we thought, nah, so then they thought Long John and the Silver Beatles, we became Silver Beatles for a while, for this tour of Scotland. So we thought well, y'know, if the name of the group's being changed, and he's Long John, I mean, people... we all decided to change our names, anyway, and people thought, well, they did, but John didn't, he was cool, but let me tell you, he was Long John for the period of that tour, he was quite happy to be Long John too. So I thought, well, if he's changing it, y'know, maybe we all should, y'know, so we all kind of fancied it, our first foray into professional entertainment. So that's what you do isn't it, you change your name. So um, I became, Paul Ramon, for some reason, I thought it was a very exotic, French sounding name."

36:59 George: "And I was Carl Harrison. And um... it's funny, really. Doesn't sound like a stage name now. Just that I loved Carl Perkins."

36:11 Paul: "Stuart became Stuart Destahl. 'Cause he liked Nicholas Destahl who was an abstract expressionist painter."

36:21 George: "**But anyway, that was... **It was a pretty pathetic tour, by the end of it we were broke..."

36:45 George: "And we didn't have uniforms, y'know, and this guy, Larry Parnes, fella, Johnny Gentle, y'know, he did have this posh suit and stuff, and I remember trying to play _Won't You Wear My Ring_ or something, around your neck, that's what he was doing, one of his Elvis tunes, remember, and we were crummy, the band was 'orrible, y'know. We were really an embarrassment. We didn't have amplifiers or anything."

37:10 John: "I would say to the others, when they were depressed..." up to "to the toppermost of the poppermost! I'd say 'Right!' and we'd all sort of cheer up."

37:34 George: "This band called Derry and Seniors, they got offered this job, to go to London, give up your jobs and come to London, and you're going with Larry, and so they all gave up their jobs, and then they didn't get a gig. So they were a bit pissed off at that, so I remember them saying 'We're going to go to London and we're going to get that Parnesy, beat him up.' So Alan Williams who was the club owner who did the audition, and it was sort of... he was probably the first big groupie of Liverpool, he drove them to London and said, well, bring your instruments, lads, and you never know, you could get a gig, so he got them a gig in the 2i's in London. And so, they were playing there, and this fellow, Bruno Koschmider, from this club in Hamburg, right, I think it was him, and he saw them, and booked them to go to Germany. And then later he sent a message saying 'I want another band'. 'Cause we were probably so cheap. 'Send us another band.'"

38:37 George: "**So** Alan Williams came to us and said to us 'Okay, lads, you can have this job in Germany, the only problem is you've got to be five people,'" up to "He was known on Merseyside as mean, moody and magnificent: Pete Best."

39:07 John: "**And then we had all sorts of different drummers all the time, because** people who owned drum kits were far and few between, it was an expensive item."

39:40 _Roll Over Beethoven_ - long montage of Hamburg lasting 01:19 before Paul voice over begins.

41:09 Paul: "We ended up in Hamburg very late one night..." up to George: "Second night we moved into the Bambi Kino, and then we were there for like two months, three months."

41:52 Paul: "I remember Rory Storm and his group coming with Ringo, coming to see us, they arrived a bit later and cam and saw the group in residence, came around to see how groups were living, and they were really shocked, 'cause they, remember, one of us had a Union Jack over us to keep warm."

42:09 Ringo: "Rory and I, or the band, we were staying in one room in the German Seaman's Mission, that was luxury, absolute bloody luxury, because before we got to the club, the Kaiserkeller, Howie Casey, sax player from Liverpool, also played a lot with Paul McCartney later on, they were sleeping for a while in the back of the club and I'll never forget, when they arrived, and they said 'Yes, now, this is where you live!' Just like, couple of old settees, and flags, union jacks, like they were your sheets. We're like, we don't do this, we've got suits! We're leaving, blah blah blah. So that's when we went to the life of luxury in the German Seaman's Mission."

42:58 George: "Everything else was such a buzz..."

43:51 Ending of _Roll Over Beethoven_

43:58 Ringo: "That was also a point of our lives where we found Dexedrin, poppers, y'know, pills. And that was the only way we could continue. Preludin, they were called, and you could buy them over the counter so we never thought we were doing anything, but you'd get really wired, and you'd go on for days. So, beer and Preludin, that's how we survived."

44:26 George: "We used to be up there just foaming at the mouth, stomping away, doing this. Those were the days."

44:34 _Money_ over montage of Reeperbahn club photos.

44:56 John: "In Hamburg, because we had to work six or seven hours a night" up to "Until the pill wore off and then you'd have to have another."

45:24 George: "I think that's where we found our style, we defeloped our style because fellow who used to say 'You've got to make a show for the people', he used to come up every night, shouting 'Mach shau!', so we used to mach shau, John used to dance around like a gorilla, and we'd all knock our heads together, things like that.

45:48 Ringo: "By the time we all met up in Germany we were playing one club, they were playing another. They were just great by then. And I used to like, because we used to do long hours, we used to do 12 hours in a weekend between two bands, and ended up on the same club and that, so if they had the last set, I'd sort of be semi-drunk, and demanding they play slow songs."

46:12 Paul: "And he'd come to our club, real late at night, and he used to like the sort of blues feel of the late night sessions, when there was hardly anybody there, and we were getting down, I could see what he liked about it it, we were playing stuff a bit more for ourselves by that time of night, particularly 'cause there was no one in, and this was all sort of bluesy, and B-sides, lesser known tracks, a thing we used to do, his particular favourite, he used to request it, was _Three Thirty Blues_.

46:43 _Three Thirty Blues_

46:52 George: "We made friends with a lot of people..." up to "... and Astrid, who took all the famous photographs of us of that period."

47:11 Paul: "**They liked all the rock and roll stuff, the quiffed-back hair-dos, all that kind of thing, the leather outfits, the shades.** They weren't really rockers, or mods..." leading to long montage of Astrid's photos over sound clips of Beatles in Hamburg.

48:42 John: "**Our best work was never recorded, y'know.** [We were performers in Liverpool, Hamburg and 'round the dance halls. What we generated was fantastic.](#2&dplus20)" (Moved to Episode 2)

48:55 George: "I was 17 when we first went out there, **and we went to the Indra club and then got moved to the Kaiserkeller, and then that ended up with us getting the gig to go to the Top Ten Club, and right before that happened, I got busted for being underage.** Now they had this kind of situation in Germany, which I'd never come across before... they just booted me out."

49:44 George: "And that was right at a critical time because we'd decided, we'd been offered a job to go to this other club."

49:51 Paul: "Which was the Top Ten, that was the club we were ambitious to play at, 'cause it was slightly better club, it was on the main Reeperbahn, Große Freiheit, which was off the main drag, so as we were leaving, me and Pete Best were packing up, and we were the last to leave, and he found a condom, in his luggage, and what we did, just for a laugh, was outside in the corridor, concrete, there was nothing could've caught fire at all, we pinned it up on the wall, and for a boyish prank we set fire to it, so it left a little sort of black rubber stain on the wall. And that was like, right, we're goin', hey-hey! On to better things. But of course the feller wasn't please we were going to the new club anyway, 'cause this was competition, we were taking all our business, his business, to this new club, so he immediately rang up the police, and we were walking down the Reeperbahn, sort of _(imitates siren, speaks in pretend German)_ 'Kom wit me', we were put in jail for about three hours, first time in our lives, y'know, bloody hell, German jail! The new club owners, where we were going to, came and I think gave them a bottle of scotch or something and got us out."

51:09 George: "Well, Paul and Pete got deported, y'know, by the police for burning the condom on the wall, so they were back before me, and John got back about two days later. I was really happy, thinking, oh, y'know, great, and that's what... the support of nature, you see. And Stuart just stayed there 'cause he decided to get _verheiratet_ with Astrid.

51:39 George: "So the second time we went back I was 18, that's when we were backing up Tony Sheridan, and at that point, this fella came into the club, who was, they said, oh, he's this famous record producer and musician, he was called Bert Kaempfert, **and his claim to fame was he had a number one hit in America, not only was he a producer, he had a number one in America called _Wunderland bei Nacht_. It turned out to be a sort of trumpet sort of solo, but** he came in the club, and I remember this buzz went around, we've got to be good, play really good, we may get a chance to record. Which we did, **I think he came back two times, then he said 'I want you to come in the studio and record',** and we got all pleased with ourselves, and then we got to the studio, and he just wanted us to like back up Sheridan. Remember feeling a little depressed, but we did at least get to do that My Bonnie."

53:13 Paul: "Ringo Starr, who had changed his name before all of us, and who had a beard, and was grown up, and was known a Zepher Zodiac, which was a very big car, in those days, y'know. Nobody had this. It was knock-off probably, fell off the back of a showroom."

53:35 George: "**Ringo kept sitting in with the band, and** every time Ringo sat in..." up to "That's why he left **when we finished the gig in Hamburg**, he decided to go back to art college."

54:42 George: "At that point Paul was still playing a guitar. I remember saying 'One of us is gonna be the bass player,' and I remember saying it's not me, I'm not doing it, and John said 'I'm not doing it either.'"

54:42 George: "He went for it." Clips of Paul at Shea stadium, photo montage, prominently featuring Pete Best holding Paul's bass.

54:52 George: "And he became the bass player from that point on, so then we were a four piece band."

55:04 John: "And then we went back to Liverpool and got quite a few bookings, y'know, they all thought we were German," up to Neil Aspinall: "'Cause they were using cabs at the time."

56:13 George: "We played the Cavern before we ever went to Hamburg, I believe..." up to "Stop playing this music, this is a Jazz club."

56:34 George: "So we were saying, 'Well now we'd like to do this tune by Leadbelly, and it's called _Long Tall Sally_. And finally they kicked us off."

56:47 _Long Tall Sally_, Cavern photo montage.

57:04 Cathy, a fan from the Cavern: "So y'know, the Cavern is their home, it's where they first started, and where they've played more times than anywhere else."

57:16 Footage of stairwell of the Cavern, leading into _Kansas City_ over slowed-down footage of _Some Other Guy_ from the Granada film of the Cavern.

57:22 Paul: "So anyway, we did well at the Cavern, and attracted some big audiences," up to "So Brian suggested we just wear ordinary suits."

59:44 Paul: "It was later put around that I betrayed our heavy leather image..." up to "We all went quite happily."

01:00:04 George: "So y'know, we gladly switched into suits..." to John saying Brian "presented us well."

01:01:19 End of long Decca audition montage

01:02:09 John: "George had done little, no rock and roll when we met him..." to Paul: "But the thing he didn't like was our drummer."

01:02:54 George Martin: "And I said to Brian Epstein, if, when we do the next session, I don't want to interfere with the Beatles and what you're doing with them, that's fine, but I'm going to provide the drummer."

01:03:03 Paul: "We really started to think we needed _the_ great drummer in Liverpool".

01:03:09 George: "Historically it may look like we did something nasty to Pete, and it may have been that we could have done it better, but the thing was, as history also shows, Ringo was the member of the band, it's just that he didn't enter the film until that particular scene, y'know."

01:03:30 Ringo: "There was a Wednesday, and Brian called, **I don't remember John calling, it's in somebody's book**, would you join the band..."

01:04:27 Ringo: "We played the Cavern, and there was a lot of fighting and shouting... George fought for me." Followed by long clip from Granada film of the Cavern.

01:07:19 George Martin: "I'd already booked Andy White. I'd told Brian Epstein I was going to do this, and said I just want the three others, that's fine."

01:07:26 George Martin: "Ringo turns up expecting to play. I said, well, y'know, I've been bitten once, I'm not going to have that. I don't even know who you are."

01:07:33 George Martin: "We're going to have Andy White, thank you very much."

01:07:36 Ringo: "No, I was devastated, I came down ready to roll, and... 'We've got Andy White, the professional drummer." _[Jools Holland interjects: "Oh dear, that's awful."]_ Ringo continues: "But he's apologised several times since, has old George Martin..."

01:10:35 End of full play of _Love Me Do_ (Ringo version). Brian and John talk about the chart performance of the single over silence.

01:11:09 George: "It got to, whatever, 17 in the following weeks after it came out, and I don't recall what happened after then, it probably just died and went _[Note: it reached No. 17 in its 12th week of release, and remained in the chart a further 6 weeks]_, but it meant that next time we went back to EMI, they were really more friendly, oh, hello lads, come in, yes, okay."

01:11:26 George Martin: "It was quite normal in those days to find material for artists..." up to "... and that was a song by Mitch Murray, called _How Do You Do It?_ And I was convinced this was a hit song."

01:12:00 Freeze frame on the George Martin interview as we hear Mitch Murray's demo of _How Do You Do It?_

01:12:07 George Martin: "Not a great piece of songwriting, not the most marvellous song I'd heard in my life, but I thought it had that essential element that would appeal to a lot of people."

01:12:16 George Martin: "And we did record it. John took the lead", up to _Please Please Me_, complete song performed live for TV appearance.

01:15:38 Cathy the gatekeeper of the Cavern: "And Bob Wooler got on the stage, telegram in his hand, I've got news for you, **and he looked terrible, we thought something disastrous had happened,** and he said the Beatles' record _Please Please Me_ has reached number one in the national charts..."