♪♪ Down there, The Cavern Club -- the cauldron in which the right musical elements regrouped, fused, and caught the imagination of the universe.

Hi, there, all you cave dwellers.

This is Bob Wooler saying welcome to the best of cellars.

We got the hi-fi high and the lights down low, so here we go with The Big Three show.

Man: It was an atmosphere like none other.

It was hot and sweaty.

It stunk.

The walls were just dripping with sweat.

Woodhead: It was a grotty, uncomfortable, extraordinary place.

By God, it had so much energy.

Charles: ♪ See the girl with the diamond ring ♪ Man #2: It was just an incredibly vibrant atmosphere.

It was unforgettable.

[ Audience cheering ] ♪♪ ♪♪ ♪♪ And here, believe it or not, is where the story begins.

Well, not here, exactly.

This, Le Caveau de la Huchette, on the Left Bank in Paris was the inspiration for a young Liverpudlian jazz enthusiast called Alan Sytner, who spent a lot of his youth here in Paris and dreamt of one day owning his own jazz club back in his hometown.

♪♪ Here in the Latin Quarter, Le Caveau opened on the 16th of May, 1947.

It was, and still is, a basement club.

When Sytner saw it, he was mesmerized.

♪♪ ♪♪ Being near to the Sorbonne, Le Caveau was an exciting place where young students could congregate and listen to jazz.

He recalled being dazzled by it, and it was all part of the glamor of Paris after the war.

♪♪ ♪♪ ♪♪ ♪♪ Bryden: ♪ Woke up this morning feeling bad ♪ ♪ Thought about the good times I once have had ♪ ♪ When I lived in Kansas City... ♪ McGann: Back home in 1956, there was little postwar glamor.

Bryden: ♪ I'm gonna move, baby ♪ McGann: Alan had started promoting jazz in the city, but dreamt of owning his own jazz bar like Le Caveau.

Morris: Alan Sytner went to Paris on a short holiday, and he came back and he said, "There's a jazz club there, and that opened early in the evening, so people came straight from work.

They didn't have to go home and have their tea and come out again, you know."

He said, "We should have a place like that.

We could even open at lunchtime."

He said, "I'd love to find a place like a basement or something."

He was inspired by listening to jazz as a young teenager, particularly the music of what was then known as Dixieland jazz, or traditional jazz -- the original jazz.

But quickly, he became interested in all forms of jazz music and the origins of the jazz music, which of course, was the Delta blues, the Mississippi blues, gospel.

And improvised, basically improvised music.

And he got the whole thing.

He could see it, and he felt it.

McGann: Helped by the generosity of his father, together with £400 from a maturing insurance policy, Alan had the money to lease an old abandoned fruit cellar in Mathew Street with arches which were remarkably similar to that of Le Caveau.

I remember the flimsy sheet, colored in, showing what The Cavern was going to look like, and it looked like -- it was like so many artists' impressions.

It looked -- it was like a dream.

It was an artist's dream and way ahead of its time and so on.

And then, actually, that was the determination, to actually make that drawing into The Cavern.

He decided to do it.

Once he found the premises, that was it.

It was going to happen, however he did it.

Morris: When we went down to have a look at it, it was actually three rooms.

And he said, "What we need is one big room.

So these walls will have to come down."

"Oh, really, Alan?"

"Yeah, you know."

"Well, will be safe?"

"Oh, yeah, yeah, yeah."

He said, "I'll get the sledgehammers, and I'll get a barrel of ale, and we'll all go down one night and knock these walls down," which we did.

And just thinking about it afterwards, I mean, you know, the whole thing could have come down on top of us.

McGann: He wasted no time at all in naming his new venue.

The Cavern.

The backdrop of the stage in the Cavern was even based on the work of Mondrian, who resided in Paris, and whose work was hugely influential with French students.

Little Walter: ♪ Well, I'm a crazy, mixed-up kid ♪ ♪ And I love to dance like this ♪ McGann: Alan was bringing the Left Bank to Liverpool.

Little Walter: ♪ I love to rock and roll ♪ ♪ Because it satisfies my soul ♪ ♪ Well, I love to jump and shout ♪ Conditions at the Cavern were rustic, and that's being generous.

Young, ambitious, and with very little money of his own, Alan still had a dream in his heart, as well as all the arrogance and determination of youth, and he was elated at the atmosphere the club could generate when it was full of people listening to the music he loved.

Little Walter: ♪ Crazy mixed-up world ♪ The club first opened its doors on January the 16th, 1957.

Top of the bill that night were the Merseysippi Jazz Band, supported by the Wall City Jazzmen, the Ralph Watmough Jazz Band, and interestingly enough, the Coney Island Skiffle Group, a precursor to the future.

♪♪ And this chap came along and said, would we like to play at the opening night of The Cavern?

Delighted, obviously, so we came over from the Wirral, dragging along tub basses and washboards and all this.

Arrived at the top of Mathew Street here, and it was packed solid.

We couldn't move, actually, and we felt quite privileged, you know, pushing our way through with our instruments and guitars.

Came down the steep steps into the main room, and it was packed and hot.

Sytner: My father said, "We'll go to a bar, a restaurant in the center of Liverpool."

I was an excuse.

What he wanted to do was to be in town.

He wanted to -- He wasn't going to go into The Cav-- I think he'd already been told, "Dad, you're not coming.

You know, you're not coming into The Cavern.

Don't even think about it."

You know, "We'll let you know how you get on today."

And as we drove into town, my father couldn't resist.

And we went all the way up.

And as he got nearer, there were crowds spilling out from round Mathew Street.

Nobody had any idea who would turn up, how many people would turn up, what kind of people would turn up.

They had no idea.

And what happened was pretty much everybody from Liverpool University heard about it and wanted to go there.

My father, then, it didn't take long for him to catch on.

We were turning people away.

This was definitely the start of something new.

When Alan opened The Cavern Club, he commissioned me to do the opening poster, and they were pasted up on the outside of the walls with flour and water.

[ Laughs ] Publicity stunts.

That was the only way you could market something -- with publicity stunts -- had to be a stunt.

And the stunt was that he invited the Earl of Wharncliffe, and the Earl of Wharncliffe had a jazz band.

I don't know if he could play.

I never, even to this day, quite understood why the Earl of Wharncliffe was such an incredible draw.

I think it's just because he was an earl and he drove a sports car, drove an Austin-Healey, and, you know, he was something of a playboy -- playboy aristocrat with a love of jazz.

And he agreed, and he didn't turn up.

I said, "When's the earl coming?"

He said, "Well, he isn't.

I just used his name."

But he opened a piece of paper and he said, "I have to tell you folks that due to bereavement, the earl will not be with us this evening.

I'm sure you'll all join with me in sending our condolences."

That was typical Alan.

McGann: After an initial fanfare of publicity... ...post-war Liverpool was a challenging backdrop for Alan.

Disposable income was scarce or indeed non-existent.

Jazz was to rule the roost at The Cavern, but before long, a new type of music was about to emerge.

♪ I'll tell you where I was going, boy ♪ ♪ Where are you going, boy?

♪ ♪ I'm going down the Rock Island Line ♪ ♪ Mighty good road, yes, indeedy ♪ ♪ Well, the Rock Island Line, she's a mighty good road ♪ ♪ Well, the Rock Island Line is the road to ride ♪ ♪ The Rock Island Line is a mighty good road ♪ ♪ And if you want to ride ♪ ♪ You got to ride it like you find it ♪ ♪ Get your ticket at the station ♪ ♪ On the Rock Island Line ♪ Liverpool rock 'n' roll scene really began in the skiffle era, which was in the mid '50s.

It was revived in England by Lonnie Donegan.

♪ When you play the game of life ♪ ♪ You've got trouble, you've got strife ♪ ♪ Jack of diamonds is a hard card to find ♪ ♪ Life is like a game of cards, but it's very, very hard ♪ ♪ Jack of diamonds is a hard card to find ♪ So, the first great influence, amazingly, wasn't American rock 'n' roll.

It was Lonnie Donegan.

♪ Met a girl and lost my heart ♪ ♪ Lack of money made us part ♪ ♪ Jack of diamonds is a hard card to find ♪ ♪ She said life is just a bet ♪ ♪ But I never won again ♪ ♪ Jack of diamonds is a hard card to find ♪ Well, what actually was skiffle, musically?

It was a mixture, right?

It wasn't one music.

It was a mixture of musics in the same way that originally jazz was not a music.

Jazz was a mixture of musics which went into the cauldron in the New Orleans area and emerged gradually as this thing, jazz, right?

Same thing with skiffle.

We had a mixture of influences, a mixture of types of songs that all went into the skiffle pot.

We introduced the Liverpool Skiffle Championship Wednesday night when we did a pure skiffle program, and this became so phenomenally popular that we would have 20 skiffle groups in one evening, each going on and doing about one number.

The amazing thing was that each skiffle group had its own following, so it would probably bring with it 20 or 30 fans from the district, the street, the school, the youth club, or whatever, where the group had been formed.

McGann: Impoverished, aspiring musicians utilized anything they could extract sounds from to make music, whether it was washboards, jugs, or even paper and comb.

Because you couldn't run jazz every night because there wasn't a mark-- you needed to expand the market.

So, he did accept skiffle -- skiffle groups, as long as they were good, as long as they had to pass a test.

And the answer was the lunchtime sessions.

You brought your own sandwiches, you paid half a crown, and the bands that were playing were not being paid.

The lunchtime sessions, in a way, were the start of it because that's where the other kind of music crept into The Cavern, against Alan's purist ideals.

McGann: Skiffle was perceived as being genteel and its improvization appealed to many of the jazz aficionados, so it was understandable that the two genres could happily co-exist side by side in The Cavern.

This was not the case with rock 'n' roll.

In Liverpool, virtually all the skiffle groups changed into rock 'n' roll bands.

Holly: ♪ Oh, we-e-e-ll ♪ ♪ The little things you say and do ♪ ♪ Make me want to be with you ♪ ♪ Rave on, it's a crazy feeling ♪ McGann: Alan refused to embrace it, believing it to be wild, aggressive, and violent.

And it was certainly not the scene that he'd envisaged for his club.

Presley: ♪ You ain't nothin' but a hound dog ♪ ♪ Cryin' all the time ♪ My mother absolutely loved Elvis.

We all loved Elvis.

And I remember my mother and John jiving to Elvis records.

Presley: ♪ You ain't no friend of mine ♪ ♪♪ Baird: When John and Paul met and became what I call the dream team, John was playing banjo chords, even when he still wasn't playing the banjo.

He'd moved on to the guitar with the banjo chords, and Paul was playing -- trying to play a right-handed guitar, being left-handed.

The Quarrymen was the first group we had, so called because John went to a school called Quarry Bank, and he'd started the group, and then they asked me in it.

I had a mate of mine and we met up with John, and then the guys saw me play "Twenty Flight Rock" and said, "Such a talent.

He knows all the words."

Lennon: ♪ Now he's long, long, long gone ♪ ♪ Now lost John was standing by the railroad track ♪ ♪ Waiting for the freight train to come back ♪ McGann: Nigel Walley was the tea-chest player who soon became their de facto manager.

He got them a paid gig at The Cavern Club on the 7th of August, 1957.

By then, Paul McCartney had joined the band but was unable to play because he was at Scout camp.

Garry: I think our manager at the time was Nige Walley, and I think he got us a booking at The Cavern and we said, "Tonight we don't really fancy playing there," because everybody knew then it was a jazz club, and John was wanting to do Elvis numbers.

And anyway, we got booked that night, and John had his list out of what he was going to do, and one was "All Shook Up."

And I said to John, "John, you can't do that.

You're going to, you know, you're going to make an -- You're going to make an opera.

You're going to get turfed out."

"I'm doing it.

This is on my list."

He has a scrap of paper with his list on, you know, which he always used to lose.

You know, "Where's me song sheets?"

You know, gone.

Anyway, the time came, sort of halfway through the session when "All Shook Up" came on, and you could hear sort of shouts from the back, "What are they doing?

Get them off!

Cut out the bloody rock!"

A lot of these amateur bands, young people, got in on the skiffle, managed to get a gig on the skiffle ticket.

But by the time they'd done a couple of numbers, the skiffle had given way to pure copying of Elvis's rock 'n' roll stuff, and particularly the Black musicians, Chuck Berry being one of the most influential of them all, actually.

Alan didn't really want people to come in and copy other people's music because jazz is inventive and creative.

So, copying is not -- you can't copy jazz.

If you think about it, all jazz is improvised.

McGann: Sytner was becoming increasingly frustrated with his new venture.

He was totally immersed in jazz music, both traditional and modern, but he was blind to the bigger picture emerging.

He left his father, Dr. Sytner, in charge, but he was far too busy and still out of pocket from his son's initial acquisition of the club.

Ray McFall, who was seconded to The Cavern to check the books, he fell for the life -- that lifestyle and came along with a rescue package.

McGann: And that's how 32-year-old McFall became the new owner of the club in October 1959.

Importantly, he was much more amenable to the new styles of music emerging.

Kidd: ♪ When you move in right up close to me ♪ ♪ That's when I get the shakes all over me ♪ Initially, he had like four or five nights of jazz and one night of rock.

Because it became so popular, it quickly switched around to five or six nights of rock and one night of jazz.

Kidd: ♪ Yeah, the tremors in the thigh bone ♪ When Ray McFall took over, it was still a jazz cellar allowing for rock 'n' roll to be played.

Of course, when I came in, being so rock-minded, I was saying to Ray, "This group's... Should have this group, Ray, etc.," you see.

So, eventually, it became identified with one thing -- rock 'n' roll.

The rock bands were what was the future, and that's what the kids really liked.

Announcer: Rory Storm and the Hurricanes.

[ Audience cheering ] ♪♪ ♪♪ ♪ Well, I can tell by the way that you look at me ♪ ♪ I can tell, pretty baby, it's so plain to see ♪ Guitar: Rory just said do some obscurities, and let's do some rock 'n' roll.

And it was if we'd committed a mortal sin.

The dancing stopped.

People started booing.

When we finished our set, we were summoned to the office and told that our fee would be docked because we played, I think it was, two rock 'n' roll tunes.

But that was the very, very first time that I know that rock 'n' roll was ever played on The Cavern, and that was on that jazz festival on that week.

But things soon changed.

You know, the tables were turned because rock 'n' roll, by then, it was just becoming an unstoppable force.

♪ I know you don't love me... ♪ McGann: In time, this Liverpool cellar would become a training ground for hundreds of bands and musicians that would change the global face of music and culture.

♪ Well, it's just one more ♪ [ Cheers and applause ] ♪♪ Berry: ♪ Sometimes I will, then again, I think I won't ♪ McGann: Liverpool had long been the gateway to the new world.

Now it was ideally situated to receive the latest sound that was sweeping America.

And with the post-war introduction of hire purchase, youngsters suddenly found guitars to be more affordable.

Berry: ♪ Well, I looked at my watch, It was 9:21 ♪ ♪ Was at a rock 'n' roll dance having nothing but fun ♪ McGann: Local teenagers immersed themselves in this new craze, forging a new identity, far removed from that of their parents or their grandparents.

By the early '60s, there were believed to be over 350 beat groups in Liverpool.

Berry: ♪ Reelin' and rockin' ♪ ♪ Reelin' and rockin' ♪ ♪ Rollin' till the break of dawn ♪ [ Cheers and applause ] Well, when we first went down to The Cavern to do a gig, the resident DJ was Bob Wooler.

He was, like, the master of ceremonies.

So, it'd be -- he'd be on the mic, and [Imitating Wooler] "Bob Wooler, DJ at The Cavern.

And now here we have, you know, Bobby Vee" [Normal voice] or whatever, and he would introduce, [Imitating Wooler] "Ladies and gentlemen..." He did all the DJ stuff.

"Beatles!"

Yeah, you know.

Wooler: Hi, there, all you cave dwellers.

This is Bob Wooler saying welcome to the best of cellars.

We got the hi-fi high and the lights down low.

So, here we go with the Big Three show.

Johnny Hutch, the leader of the Big Three, he said, "Come on, Bob."

He handed me the mic.

"Say something."

And I said, "What?"

So, I had a little rhyme in my head.

It was, "Remember, all you cave dwellers, that The Cavern is the best of cellars."

Unbeknownst to me, Ray McFall was standing at the back and he said, "Who's that on the mic?"

I'd like to think he was impressed by my dulcet tones coming across.

Bob Wooler -- he ran the club.

Ray McFall was more or less like the accountant.

It was Bob Wooler.

When you mentioned The Cavern name, people will say Bob Wooler.

They will not say Ray McFall.

It was Bob Wooler who told Ray McFall to have The Beatles because they were almost going bankrupt, and they were still putting jazz bands on when the whole scene was rocking.

♪ Oh ♪ ♪♪ ♪♪ That's what it's like here.

Liverpudlians watching other Liverpudlians making Liverpudlian music.

Charles: ♪ See the girl with the red dress on ♪ ♪ She can shake it all night long ♪ ♪ What -- What'd I say ♪ McGann: Demand was so high that Ray had the genius idea of the legendary lunchtime sessions to cater for the young clerks and shop assistants.

The club was bouncing.

People were skipping school and losing their jobs.

And Ray's investment quickly appeared to be a wise move.

Charles: ♪ Yeah, tell me what'd I say now ♪ We used to pester Mr. McFall, who was the governor, to do shows, but there used to be, like, a trad jazz club.

He said, "No, I don't want to listen to rock 'n' roll.

I can't do it."

Anyway, we kept on, Paul McCartney and I kept on at him and he said, "Okay, I'll tell you what I'll do.

You can do lunchtime sessions."

So, I said, "Yeah, from 12:00 till 2:00, and all the kids are off.

Now, at lunch, you'll come in."

From what I remember, the kids were -- would form a big queue for the lunchtime sessions.

It was a fantastic atmosphere.

We were all young kids together, and we enjoyed whatever group that was on.

♪♪ It was packed.

Used to take me about 10 minutes to walk about 12 yards.

And anybody fainted, they wouldn't fall.

They're held upright by the density of the crowd.

But it was a fascinating experience, something that you couldn't wipe from your memory.

McGann: The Cavern even had its own dance.

The Cavern Stomp.

Barber: ♪ We've got a dance in Liverpool ♪ ♪ The cats and chicks, well, they think it's cool ♪ ♪ It started off with just a romp ♪ ♪ Now they call it the Cavern Stomp ♪ ♪ Blast off ♪ The Cavern was atmosphere.

It was everything.

You were all a part of it.

You knew everybody there, you know.

So, that was a sort of a great thing, you know.

That's what made The Cavern unique.

The Cavern was different from any other place in the world, almost.

The Cavern wasn't merely a club.

It was a state of mind.

♪ Trees, all the leaves falling down all around, all over me ♪ ♪ Take a look at the trees, all the leaves ♪ McGann: From the cellars of Liverpool, a fresh new sound was emerging, drawing on influences from near and far, but still retaining its own distinct rawness.

Merseybeat was about to explode onto the world stage, and one band in particular was about to lead the invasion.

♪♪ Taylor: One day, Brian came into NEMS, and he said, "Alastair, do you remember that band that we sold all those records for, The Beatles?"

So, I said yes.

He said, "Well, they're playing at The Cavern Club.

Let's go and see them at lunchtime."

So, we came and we sat at the back, and we only heard about five numbers.

And they really were awful.

I mean, they were dreadful.

But I noticed my foot was tapping, and I glanced round, and Brian's was, as well.

And at the end, Paul announced that they'd like to close with a number that he and John had written.

It was called "Hello Little Girl."

And I thought, if they can write songs as good as that... Brian says, "What do you think of them?"

And I said, "I think they're absolutely diabolical, but magic -- absolutely fabulous."

And out of the blue, he just said, "I think I could manage them."

McGann: Brian completely changed the image of the group, taking them out of leathers and putting them into suits designed by local tailor Beno Dorn.

They were obviously excited to have a real manager who promised them a recording deal.

Epstein even changed the line-up, replacing Pete Best with Ringo Starr.

On August 22nd, 1962, just a few days after his appointment, The Beatles were filmed by Granada TV at a lunchtime session in The Cavern.

Woodhead: So, it's 1962.

I was a young trainee researcher at Granada TV.

We're doing a number of short films on contrasts in our region, and we decided we should do a music one.

And one of my colleagues at Granada said, "I know what this -- I heard these kids doing blowing up a storm in Liverpool.

Why don't you ring up a man called Epstein and see what's happening?"

So, I called Brian.

He said, "Come over."

We met in the Adelphi on a wet Sunday evening, and then he said, "Come and meet the boys."

And I went over to the Cavern Club, down those stairs into that grotty, sweaty place, and I was absolutely blown away.

I mean, they were on stage as I came down the steps, and I thought, "What is that?"

It was so gut exciting.

It was absolutely astounding.

It's amazing to me that it remains the only thing that was ever done with the original Fab Four in the original Cavern Club.

♪ Some other guy now is making my past seem oh so bad, oh now ♪ ♪ Some other guy now, she was the first girl I ever had ♪ ♪ Oh, now ♪ ♪ I'm the lonely one, as lonely as I can feel, alright ♪ ♪ Oh, oh-oh-oh, oh-oh ♪ ♪ I'm a-talking to you right now ♪ ♪♪ [ Cheers and applause ] We don't suddenly jump to world fame.

I can remember riding my bike down to Penny Lane.

I think I must have been about 18 or 19.

I heard someone shout at me, "Oh, man!"

I see this guy running behind me.

It was McCartney running along from Penny Lane.

"How are you?

How are you?"

[ Indistinct ] He had a pair of orange shoes on.

Those stuck in my memory.

"Oh, yeah.

Are you doing, Paul?

How's the band?"

You know.

He says, "We're on the Granada TV.

We're going great."

McGann: The very first gig that the Beatles played at the Cavern had been on February the 9th, 1961.

Within a whirlwind three years, and on the very same date in 1964, The Beatles headlined on "The Ed Sullivan Show" in the US, watched by 72 million people.

The day before, there wasn't one single band in America, and the day after, everybody had a band in the garage.

You know, it was that sort of -- that kind of impact, immediately.

McGann: So thankful were the band for the integral role The Cavern had played in their rise to fame, Ray McFall was invited to join them on their inaugural visit to the US.

And within that remarkably short space of time, The Beatles had played the club a staggering 292 times.

From the dingy, overcrowded, hot, and sweaty basement emerged many so-called Merseybeat bands who would go on to become household names.

Brian Epstein also managed Billy J. Kramer, Gerry and the Pacemakers, the Fourmost, the Merseybeats, and of course, our very own Cilla, who was famously known for being the cloakroom girl at The Cavern.

By now, the club was booming, and the very word Liverpool evoked excitement and was synonymous with cutting-edge style and glamor.

However, fortunes for both the city and the club were about to take an unfortunate downward turn.

The Beatles' last performance at the club was in August 1963.

Once they'd left, it soon became clear that the anchor that had turned the club into profit had, in fact, gone for good.

Other bands were signed as a result of playing The Cavern, most notably The Hollies, a Manchester band who'd replaced The Beatles during the lunchtime sessions.

It was damp and wet.

The atmosphere was electrifying, once you got rocking.

♪ ...bus goes, she stays, love grows ♪ All you wanted to do was play.

You want to escape from this -- What we were up here, like apprentices and northern treadmill, the grimy north.

We wanted to escape into music, and that's what rock 'n' roll allowed us to do.

[ Screaming ] McGann: Once the Beatles had exploded onto the international scene, A&R men descended on Liverpool and especially The Cavern, to find the next big thing.

Brian Epstein had effectively signed up all of the best Liverpool talent to his management company, so there really wasn't much left.

Ray McFall struggled to fill the void.

He did give it his best shot, though.

And with that, The Rolling Stones made their Cavern debut on November the 5th, 1963.

Other legends performed during this period, including Americans Howlin' Wolf, Big Bill Broonzy, Memphis Slim, and Sonny Boy Williamson.

♪♪ Williamson: ♪ Well, I'm going down to Rosie's ♪ ♪ Stop at Fannie Mae's ♪ ♪ Gonna tell Fannie what I heard her boyfriend say ♪ ♪ Don't start me to talkin' ♪ ♪ I'll tell her everything I know ♪ McGann: British bands were also booked by an increasingly desperate McFall, including The Spencer Davis Group and The Yardbirds, featuring Eric Clapton on a number of occasions.

We began The Cavern playing in '64, end of March.

Now, I was 17 years old, and I was the oldest member of the band.

Remember, the same year, The Yardbirds came.

Young Eric Clapton on guitar, and Clapton was superb.

You could see then how good he was.

McGann: Alexis Korner also recorded a live album in 1964, and the sleeve notes state The Cavern stage performance captures an atmosphere which no studio can recreate.

McFall was paying more and more money to attract big names in between the ever-increasing down times.

But then, he got lucky.

He was approached by French TV company RTF, who were planning a live direct transmission from the club to an excited French audience, hosted by Petula Clark.

It featured some of the best footage of the club ever captured on film.

[ Applause ] ♪ Well, I said come on over, baby ♪ ♪ Whole lot of shakin' goin' on ♪ ♪ Oh, I said come on over, baby ♪ ♪ We got chicken in the barn ♪ ♪ We ain't fakin' ♪ ♪ Whole lot of shakin' goin' on ♪ ♪ Well, I said now come on over, baby ♪ ♪ We got chicken in the barn ♪ ♪ Whose barn, what barn, my barn ♪ ♪ Come on over, baby ♪ ♪ Really got the bull by the horn ♪ ♪ Oh, we ain't fakin' ♪ ♪ Whole lot of shakin' goin' on ♪ ♪ Life goes on, day after day ♪ ♪ Hearts torn in every way ♪ ♪ So ferry 'cross the Mersey ♪ ♪ 'Cause this land's the place I love ♪ ♪ And here I'll stay ♪ McGann: McFall was losing money and fast.

It became a never-ending drain on his resources, and he continued to shoot for the stars and beyond his means.

Soul music was now huge in the UK, especially in the north, and the Cavern played host to many of the genre's biggest stars, including 16-year-old Stevie Wonder.

Wonder: ♪ La, la, la, la, la ♪ ♪ La, la, la, la, la ♪ McGann: ...Doris Troy, Gino Washington, Rod Stewart, The Who, and Bluesology, together with a young pianist called Reg Dwight, the soon-to-be Elton John, all played the club.

Number 65 -- a little guy called Reggie Dwight had long hair.

It was his own then.

And we took him from The Cavern to the Blue Angel club in Seel Street one night.

He'd been on The Cavern with a band called Bluesology with backing Doris Troy, who was an American singer.

Just one look, great singer, Doris Troy, and Reggie played the keyboards.

Reggie, of course, became Elton John, and he was a really nice guy, but he didn't sing much.

He kind of just played keyboards behind the singer.

Took him to Blue Angel, and he came back, I think, once more to The Cavern.

And he was -- you could see, obviously, how good he was.

Of course, the fame later came, but as Elton John, massive.

But Reggie Dwight just wanted to be on The Cavern.

Just wanted The Cavern on their CV.

It was that important to do The Cavern.

Didn't matter.

Might have got a quid, two.

Doesn't matter.

You played The Cavern.

On my CV, I've been to the mecca.

That's what they thought in those days.

Ray McFall never ran out of ideas.

He was just running out of money.

The reality was The Cavern was punching above its weight.

It was a small club with a huge reputation, and now even bigger debts.

The telephone line was cut off, and the inevitable followed and bankruptcy proceedings began.

Oh, it had a devastating effect on the family, to the point where my father couldn't really talk about The Cavern for a good 20 years after, you know, it initially closed in 1966, when he went bankrupt.

You know, he couldn't really talk about the fact that he owned The Cavern until the mid '80s.

He was a trained accountant, but he wasn't a trained businessman.

So, just at the point where takings and the audience was beginning to drop, he then expanded the club, bought the cellar next door, invested in, like, a recording company, and there was all sorts of ancillary things draining money out of dwindling takings, anyway.

So, you know, it was only going to go one way, really.

McGann: The receiver was damning in his eventual declaration in the court.

But this was very harsh and unfair.

Whilst Bob Wooler had perhaps been the face and engine of the club, Ray was paying the bills -- or rather, not.

It was a very sad end to a management reign as the owner for The Cavern Club.

Indeed, with the artists that performed under his tenure, it could be confidently argued that this was the defining period that made the club the most famous club in the world.

The bailiffs closed The Cavern on the 20th of February, 1966, despite futile attempts by fans to barricade themselves in.

Man: ♪ ...for a little while ♪ Butler: Suddenly the crowd of their own volition started putting chairs all the way up the stairs, blocking any chance of anybody getting in, and of course, blocking any chance of anybody getting out.

Rory was there, The Cryin' Shames, ourselves, so many different bands.

And then, next morning, we went back on stage at about 10:00.

The Hideaways went back on in the morning, start playing again.

1:00, there was a bang on the doors, real noise.

And we just couldn't -- by then, we were pretty shattered.

Been there for hours.

The kids were absolutely -- Opened the doors, in came the bailiffs.

And that was it.

End of story.

Club was closed.

Out in the street.

The Cavern had died.

♪♪ We did a big protest march around town.

We all had homemade banners, and we walked through town, singing the Yardbirds' "Still I'm Sad."

It was ♪ Ohhhhh ♪ And we laid a wreath over The Cavern doorway.

♪♪ ♪♪ McGann: The receiver sold the lease of 8 to 10 Mathew Street and, more importantly, the name "The Cavern Club" to local businessman Joe Davey, who in turn brought in Alf Geoghegan as his partner.

Of course, we're absolutely delighted when we found out that Alf and Joe had bought it and they were reopening it.

Vincent: ♪ Well, be-bop-a-lula, she's my baby ♪ McGann: They too had grand designs, but they quickly and wisely invested in the infrastructure, which hitherto had been largely neglected or even ignored.

The drainage system was updated, which, in turn, greatly improved the notorious toilets and smells.

The footprint was extended, and at ground level, there was a new entrance, which is exactly where it is today, and a cafe, souvenir shop, and CCTV.

The Cavern was going up-market.

Vincent: ♪ I know she's the woman that loves me so ♪ This is the original doorway to the club when it opened in 1957.

Now, remarkably, today, this isn't the entrance to the rebuilt Cavern.

This is the fire exit.

When the club initially closed and reopened in 1966, the extended footprints led to the repositioning of the entrance to here, which, as you see, is where the entrance is today.

♪♪ The reopening on July the 23rd, 1966, was seen as so important that the then-prime minister, Harold Wilson, was invited to officially cut the ribbon.

A week later, England won the World Cup.

[ Audience cheering ] Everything looked rosy.

Announcer: Some time ago, the Prime Minister said he would open the new Cavern, and here he was, in the cellar where it all began.

Mr. Wilson said that even when the country is up against it, there's no reason to be gloomy.

So, cheers for the Mersey beat, pop in general, and The Cavern in particular.

Over now to those local idols, The Hideaways.

McGann: During the opening celebrations, sat next to MP Bessie Braddock.

Connor: And, of course, the same year, '66, in July, The Cavern reopened with new owners, and The Hideaways, my group, had the honor of being the first band.

There were so many people there.

It was absolutely packed.

It really was.

And they were serving food like a sausage and mash, And there was a power cut.

And suddenly from the band room came this voice.

It was obviously Ken Dodd.

I mean, there's no other voice.

And he said, "Bessie.

Bessie Braddock, get your hand off my sausage."

[ Laughs ] McGann: Alongside The Hideaways, Rufus Thomas, Solomon Burke, Billy J. Kramer, The Fourmost all performed at the grand reopening.

The future looked assured.

Butler: The Cavern, as well as being a big blues venue, was a big soul venue.

When people would talk about northern soul, they don't mention The Cavern.

But we were heavily involved in that, and most of the all-night sessions were with American soul artists.

We had The Drifters, The Exciters, The Platters, The Coasters, all people like that.

And one night, we had Solomon Burke on, and he comes into the band room and he says to me, "Young man," he said.

"You know my introduction?"

I said, "No."

He said, "Well, wait till I come out, and I'll tell you."

So, he came out and had this enormous red cloak on, right down to his feet, with ermine trimming and a crown on his head.

He said, "You introduce me as Solomon Burke, the king of soul.

You got that?"

Burke: ♪ I'm gonna stop wasting time, honey ♪ McGann: Joe Davey had sold on his interest to Alf Geoghegan after health problems.

But it was Alf's daughter, Debbie, that was really running the club on a day-to-day basis.

My dad thought I would -- I don't know.

He came to me and said, "I've got the chance of buying The Cavern.

What do you think?"

Well, that was like offering a child a key to a sweet shop.

I was in The Cavern every time I could possibly be there.

McGann: The Cavern was being operated as a proper business.

In 1967, a licensed bar was introduced for the first time.

However, one of the biggest four names of all was about to make a surprise appearance.

McGhee: ♪ Well, I love you, baby ♪ ♪ Gonna tell it all over town ♪ Greenberg: It was the 25th of October, 1968, and Paul made an impromptu visit to The Cavern.

My dad was stocking the top bar at the time.

Connor: And he's wandered in.

"Alright, lads," we said.

"Hi, Paul."

We couldn't believe a Beatle in The Cavern, unannounced.

Just walked in, you know, and he just wandered around.

He said, "Can I look downstairs?"

We said, "Okay, Paul, fine."

Greenberg: And he said, "I'd like to bring Linda," then his new girlfriend, Linda Eastman.

And we closed the doors, stopped the tourists coming in, and went to pour the champagne.

Linda said, "I'll do that.

I'm a good bartender."

So, she poured the champagne, and Dad picked up the camera and said, "Is it okay, Paul?

Can we take a few photographs?"

"Certainly," he said.

Linda said, "I'll do that.

I'm a good photographer."

And she picked the camera up, altered all the dials on the front of the camera, and my dad's face -- I could see him thinking, "Oh, that's Tony's."

Paul went over to a piano, which was outside the band room, which was to the left of the stage, and he lifted the lid and started to play and sing "Hey Jude."

And it was absolutely magical.

You could hear a pin drop.

It was absolutely fabulous.

♪♪ McGann: During their tenure, there were only a few major artists that played the club, notably Chuck Berry.

♪♪ Other acts followed over a four-year period.

Edwin Starr, Family, Bruce Channel, The Zombies, Wishbone Ash, Nazareth, and Status Quo were the only big names, but with hindsight, most of these became more famous after their appearance.

One band that certainly played The Cavern that were not at all famous at the time were Queen.

The Cavern was quite special for us.

The place itself is fascinating because, of course, you think it's going to be something rather grand because it's world famous, but it's tiny and you're playing under these little arches.

It's like sort of being in an underpass, really.

McGann: Again, there was to be a change of ownership.

Dad was approached by Harry Waterman to sell the club, and he was a bit hesitant to begin with because he hadn't thought about selling.

But it was at its peak, and it was doing very, very well.

And three or four weeks later, Harry approached him again and said, "Well, Alf, you know, have you thought about it?"

He said, "Well, yes, okay, Harry.

Yeah, I'll do it."

McGann: Roy Adams was very fiscally prudent.

And many complained that under his ownership, The Cavern just became a venue for second and third division heavy rock bands.

In Roy's defense, the local rock scene was dominated by the Liverpool Stadium.

Roy couldn't and wouldn't compete.

He harbored dreams of hosting gigs for up to 2,000 people, but it was never going to be possible.

Roy had received letters from British Rail, who owned the building, explaining that they wanted to demolish the club to make way for a ventilation shaft for the underground railway loop that still goes under the club today.

The Geoghegan family had known about the plans for the proposed demolition prior to the sale to Roy Adams.

Roy did not know about it until he got this letter, which I'll just quote it from his book.

"I received a letter from the council informing me that I had eight weeks to vacate the premises as British Rail were taking it over.

I got on to them, and they informed me that they had written to The Cavern several times with the notifications.

I presume mail had gone to the previous owner who kept schtum."

Three weeks into the negotiations, Dad received a letter of intent from British Rail solicitors.

British Rail owned the land that The Cavern stood on.

They wanted to put their ventilation shaft for the new underground metro link in Liverpool city center that they were building, and for £500, they would move the ventilation shaft further down Mathew Street towards Button Street.

My dad went berserk when he finally found out what was happening.

And he was really annoyed with Alf Geoghegan doing that because he said, "I wouldn't have bought it.

You know, I spent all that money on it."

So, I think it's relatively clear.

Think about it.

£500.

A club on two floors that was absolutely packed.

He was making an awful lot more than that every single week.

When it happened, he went talk to the council, the planning.

Local MP wrote letters all over the place.

And he said to them, "Why, if something's working that well, why would you want to change it?"

McGann: However, Roy's lease was coming to an end.

He couldn't increase the capacity, and he'd found superior, in his mind, premises only 15 yards across the road.

And that signaled the end of the first era of The Cavern Club on its original site.

It's a bad thing that it should go.

Because it definitely has some historical significance in Liverpool now.

More people come here than go to the two new cathedrals, for example.

And it's better known than the new cathedrals.

It's better known than anywhere else in Liverpool.

In fact, people come from abroad.

They don't go to London.

They come straight to Liverpool to see The Cavern.

Honestly, I haven't been anywhere else like this.

It really is a good place.

It really is.

Yeah.

It's great.

We've had a really fantastic time.

You couldn't put this anywhere else, you know, sort of make it the same.

I think you shouldn't close it down.

Nothing will beat this place.

Why is it so important, The Cavern?

What's the magic?

It's so original sort of thing.

You know, I mean, most of the other clubs in town are more or less the same, but there's just no place like The Cavern.

When they closed the door of The Cavern Club last time, I think that will close the door on an era, an era that will never be surpassed again.

Not by any artist or film star or whatever you like.

It'll never be surpassed again.

It only happened once in a lifetime.

When Roy Adams made the decision to move over the road, he moved The Cavern entrance 15 yards across the street to here.

And to this day, the Liverpool City Council has shouldered the blame for allowing the original Cavern Club to be knocked down.

♪♪ Terrible.

It's awful.

Terrible.

The Cavern is the be and all of all music, and The Cavern will always live, whether it comes down or not.

I'll be here, even if it's down.

It will always live.

You know, it's got sentimental value to me.

Announcer: The Cavern Club, famous as the birthplace of The Beatles, is coming down.

True, they're building a new Cavern across the street, but it's not the same, is it?

When I heard that it was going to be demolished, I thought, this is ridiculous.

The council didn't want to know.

The people didn't want to know.

People on the scene didn't want to know.

They just didn't want to know.

♪♪ ♪♪ Johnson: ♪ Too late to cry, baby ♪ ♪ Your last chance is gone ♪ McGann: Roy spent 32,000 pounds moving over the road to a building with Cavern-esque arches that could accommodate 2,000 people.

Man: Once he went to the new Cavern, it lost it.

It just wasn't the old Cavern.

McGann: And despite attracting big names of the time, such as Suzi Quatro and Roy Wood, it soon struggled and closed yet again.

But Cavern Enterprises, owned by Roy Adams, still continued to trade on Mathew Street.

Roy, after two failed attempts to make a profit on his new premises, rented the venue to three younger entrepreneurs -- Ken Testi, Roger Eagle, and Pete Fulwell, who launched Eric's... ...a new punk venue which satisfied the demands of a younger audience.

Here, The Sex Pistols, The Stranglers, The Police, Elvis Costello, and The Ramones all performed.

Punk was a short-lived, knee-jerk youth counterculture reaction to the establishment.

Eric's, which had been at the very forefront of this revolution, itself imploded after four hugely successful years.

♪♪ In December 1980, everything was reevaluated.

I was awoken about half 8:00 by battering on the front door.

And the guy who did work for me, Roy Alexander, is standing on the doorstep, absolutely crying his eyes out.

I said, "Roy, what's up?"

"John Lennon's been shot in New York."

And I heard this amazing sob behind me.

And that's all I can remember of that day.

Earlier in the year, in August, British Rail had asked me to look at coming up with some ideas for the site.

I'd been thinking, you know, "I want to rebuild The Cavern."

But it was the inspiration I got from from hearing that news, and the next day, I started drawing and did the embryonic sketches of the whole building.

When we started on the site scrape, we found, I think, five wells on the site.

And we went down in the crane buckets.

You know, the personnel skip, down this hole and found this watercourse under The Cavern.

And it was really, really freaky down there.

But we'd also found The Cavern arches.

Now, you don't demolish a basement, you fill it in.

And it had been filled in with bricks, but the arches were still there.

The top had been smashed in, but the main side arches were still there so we could measure them, get the exact sizes.

And we saved all the bricks.

Here they are.

The Cavern we see today is fundamentally as the original Cavern, in that the size of the arches and the curve of the arches.

Harrison: ♪ Never makes me wait ♪ ♪ She always cares ♪ McGann: The original site was about to be redeveloped again, and The Cavern would move for the last time, back to here, to where it all began.

Harrison: ♪ ...draggin' me down ♪ ♪ You're not dragging me down ♪ Gone was the sweaty, smelly, melting pot that had been the original Cavern.

And in its place were carpets, fine wines, table service.

The entertainment was cabaret.

The concept of the new owners, which included Liverpool footballer Tommy Smith, was that the original Cavern crowd were now in their 30s and wanted something more refined.

How wrong can you be?

I do recall '84 vividly and the opening, and we all came down to sign the wall.

All the guys, all the legendary people.

You know, the Merseybeats, there was Farren, and everyone came down that night.

It was tremendous.

It looked like the same with the archways and the stage.

It looked -- it smelt much better.

The smell was great.

It was a lovely -- That's really nice, that now.

McGann: Within a year, the club was failing and indeed changed hands for £500,000.

The new owners promised flashy disco lights and a more modern feel.

They duly delivered on their promise and went bust very quickly.

This other grotto we're about to see is where The Cavern actually started.

It's been reopened as like a tacky wine bar.

Flown 4,000 miles to see The Cavern.

What do you want to come and see, a tacky wine bar?

Not me.

McGann: In 1989, Jimmy McVitie took over and finally, somebody did something right.

McVitie went for the newly emerging student market, a result of a huge expansion by Liverpool's universities and colleges.

And for about 18 months, it was wildly successful, until it was closed down after McVitie and his bouncers were tried and convicted of the assault of a young customer.

And despite this lamentable incident in the club's history, McVitie had re-introduced live music.

And though it was only on a Saturday, it was a big step in the right direction.

♪♪ After being closed for many months, The Cavern Club was acquired in 1991 by Cavern City Tours, its current owners.

February the 1st, 1964.

I can still remember it.

And they decided that they were going to open The Cavern on a Saturday afternoon, just for kids.

We were all down here like a shot.

Announcer: Yes, they're as small as they look.

These thumb-sized baby Beats are just 12 years old.

And up until last Christmas, they had no instruments to call their own.

Jones: The queue was like a mile long.

It was back down the street.

We were standing almost outside Hess's.

We thought, "We're never going to get in here."

But anyway, we stuck it out, got there at 10:00, and got in the club at 2:00 in the afternoon.

And the thing, the most memorable thing for me was the heat, the darkness, and the noise.

It was just like something you'd never experienced before in your life.

And, you know, never for one minute did I ever think that, you know, I'd own it.

Heckle: It was nothing to do with The Beatles that brought me here.

We were big, big fans of a Dutch band called Focus.

And when we came down the stairs and we were in The Cavern, we didn't even know we were in The Cavern.

We thought, "Where do we pay?"

So, we were kind of -- hesitantly, we just went down the steps, thinking someone's going to stop us and ask us for money or, you know, say we can't come in and we needed a ticket.

Then we realized we were in, and it was starting to get packed.

And then we saw Focus.

It was brilliant.

Yodeled all the way home that night.

Heckle: We didn't realize at the time, we just saw one of the last big acts of a band in The Cavern.

McGann: The new owners put music at the forefront and made live music the staple of everyday life at The Cavern Club.

Baker: As anyone knows who's ever been here, it's like you're steeping yourself -- you're immersing yourself in this history.

Not just a history of music, but a history of culture.

There's that phrase that they say, four boys or four lads that changed the world.

Well, yeah, they did, but this is where they changed it.

This is where it -- you know.

So, you're part of that.

And I came in here and got that tingling feeling, that, "Oh, God, this is -- this is -- this is amazing.

This is where it happened."

And I remember saying, "It'd be bloody good to get Macca in here."

♪♪ ♪ Well, she was just 17 ♪ I thought that we had to do a gig that was going to be of monumental importance.

♪ How could I dance with another ♪ ♪ Ohhhh, when I saw her standing there ♪ I want to welcome all the people who are watching this or listening to this and all the people who've come here from all around the world tonight.

McGann: Thousands of fans gathered in Liverpool city center to watch the concert live on a huge outdoor screen.

What's more, the concert had an estimated online audience of some 53 million viewers.

♪♪ ♪ Well, my heart went "boom"... ♪ The day that Paul McCartney returned to The Cavern, that dominated the news.

It was the front-page story on every single national newspaper in this country, including the Financial Times.

McGann: It's undeniable that if The Beatles were the band that defined The Cavern, it was Paul's return that cemented it in the minds and the souls of fans and artists alike.

Paul's appearance opened the floodgates.

We've had Donovan, Gloria Estefan, Earth, Wind & Fire, Richie Havens, Paul Rodgers, Arctic Monkeys, Paris Hilton, Elvis Costello, Yoko.

We've even had The Fonz, Kings of Leon.

Man: ♪ Want to shoot you right down ♪ Baker: Bo Diddley, Mary Wilson of the Supremes, Steven Van Zandt from Bruce Springsteen's E Street Band.

We've even had British royalty.

Go back to the '50s.

You know, we've had legends like The Comets and The Crickets.

Liam Gallagher, The Coral, Martha Reeves, The Kooks, Mark Hamill, Jessie J.

Man: ♪ I love to see you walk ♪ Baker: You never know who's going to turn up at The Cavern.

♪ I was in Liverpool at The Cavern Club ♪ ♪ And I just wanted to say ♪ ♪ Ooh, yeah ♪ McGann: Interestingly enough, the club was to go through one more turbulent period.

Heckle: We had a dream to open the world's first Beatles-themed hotel, and it took 15 years, but it nearly killed us.

And over a four-year period, which we remember with abject horror, any given day we could have gone under, which would have taken The Cavern down with it as well.

They said that they needed somebody to buy in, and I jumped in with both feet.

And the irony is that the money, back at source, had come from John.

And John had always said that the happiest time of his life as a musician was on The Cavern's stage, and he owns it now.

McGann: Every day the club opens its doors to the world, to Beatles fans wanting to make the ultimate pilgrimage to where it all began and to music fans keen to hear the latest sounds booming out of this legendary cellar.

I'm from Brazil.

Somerset, Taunton.

I'm from South Africa.

Bangkok, Thailand.

From Wilmington, Delaware.

I come from Bulgaria.

From Australia.

Brisbane, Australia.

Cornwall.

Man: Why did you visit The Cavern Club?

Woman: Oh, because we're from The Beatles era.

Made me feel 20 again.

I absolutely love it.

It feels like I'm walking into history.

It's very international atmosphere down there.

It's a special place to be, I think.

...three, four!

♪♪ ♪♪ Heckle: The Cavern, of course, has to pay tribute to The Beatles.

But it can't just be about The Beatles.

It's not a shrine.

It's a happening, live music place.

And it's been the backdrop the whole 60 years, from jazz, skiffle, early rock 'n' roll, pop music, soul, blues, everything.

♪♪ ♪ Let me tell you how it will be ♪ ♪ There's 1 for you, 19 for me ♪ ♪ 'Cause I'm the taxman ♪ ♪ Yeah, I'm the taxman ♪ The Cavern today, it's so eclectic what we do and it embraces every genre of music and keeps moving forward, as well.

♪ I'm crawling, crawling, crawling ♪ ♪ Cannot complain ♪ ♪ Oh, oh ♪ ♪ Electric wires and cable ties ♪ ♪ You ground my bones and broke my mind ♪ ♪ Just in too deep ♪ [ Indistinct ] ♪♪ I think it's really common for, you know, venues such as this to get stuck in a sort of way, which is very much bands of the past, but The Cavern has done such a great job in kind of expanding that and letting new artists kind of come here and shine and play in such a historic place.

This next one is another new song off of the new album, and I did it on Jools Holland a couple of months ago.

And it's, um, it's my favorite song.

I just I probably -- oh, good.

Oh, I'm glad.

But don't, like, kind of bat an eyelid If I suddenly burst into tears during it.

It makes me really sad.

But this is a song called "Someone Like You."

Heckle: We're obviously used to having people -- famous people -- want to play The Cavern.

And when Adele played, that was amazing.

She was playing live, and it was recorded and put out on the radio, and it was all part of the launch of her new album.

♪ I heard that you're settled down ♪ ♪ That you found a girl and you're married now ♪ ♪ Oh, oh, I heard that your dreams came true ♪ ♪ Guess she gave you... ♪ McFall: Adele was previewing "21," which was obviously the album that was -- took her to worldwide success.

It was wonderful.

It was... We didn't know the songs, but you knew you were listening to something special.

♪ ...so shy ♪ ♪ It ain't like you to hold back ♪ ♪ Oh, hide from the light ♪ ♪ I hate to turn out ♪ The Cavern Club, the club that means so much to so many people, a club that's embraced an ever-changing music scene -- the highs and lows, the dramas, the battles, the heartache, and most of all, the music.

Man: ♪ Hey, hey, oh, oh!

♪ ♪ Huh, huh, huh, huh!

♪ ♪ Oh, come on now ♪ ♪ Come on now ♪ ♪ Shake it one more time now, come on ♪ ♪ Come on now ♪ ♪ Yeah, yeah, yeah ♪ ♪ Shake it one more time ♪ ♪ One more time now ♪ ♪ Hey, oh ♪ ♪ Huh, huh, huh, huh ♪ ♪ It's alright, baby, it's alright now♪ ♪ It's alright, yeah ♪ [ Cheers and applause ] ♪♪ This is Bob Wooler.

Thanks for coming to Liverpool.

Man: ♪ Hey, hey, oh, oh ♪ ♪ Huh, huh, huh, huh, huh ♪ ♪ It's alright, shake it one more time now ♪ ♪ One more time ♪ ♪ Shake it one more time ♪ ♪ Shake it one more time ♪ ♪ Yeah, yeah, yeah ♪ ♪ Shake it one more time ♪ ♪ Shake it one more time ♪ ♪ Once more!

♪ ♪ Hey, hey, oh, oh ♪ ♪ Huh, huh, huh, huh, huh ♪ ♪ Baby, it's alright now ♪ ♪ It's alright ♪ ♪ It's alright ♪ ♪ Yeah, it's alright ♪ ♪ Say it's alright ♪ ♪ It's alright ♪ ♪ Baby, it's alright ♪ ♪ Yeah, it's alright ♪