have been reviewing nixon tapes since the 1980s, richard nixon sued the national arc iverson for control of his case. that lead to a court case, a whole different review. i've become director of the nixon library in 2007, by that the point the review had gotten to 1972, and by court order, we were supposed to go in chronological order. the chronological review ended in 2013. national arc iverson then did -- i was no longer there. i had a sense of what was done. the national archives went to preservation work on the tapes. digitized them, and then they started a review, they went back to the redactions, the withdrawn parts from the earliest tapes. and i learned again, now, as a private researcher, that private research researchers could request certain conversations. when i was at the national arc iverson, i heard there was a
>> larry: everything that happens has to fit the song that happens. >> normally we build our show and the music would follow in support. now we had to work on the music. so basically what we've done, i went to london working with george martin and giles, martin's son. >> we took the masters, digitized them, brought them to vegas, and produced the music for the show in a way that we are replicating everything that was heard and wrote. what we have here on the master tapes. >> larry: can we sea some sounds? >> yeah. this is the very beginning mix. the drums you are hearing here are actually from another song -- from the end of abbey road. and what you'll get is "get back" the start of a song underneath it. so these are two songs.
♪ there will be a show tonight. >> larry: everything that happens has to fit the song that happens. >> normally we build our show and the music would follow in support. now we had to work on the music. so basically what we've done, i went to london working with george martin and giles, martin's son. >> we took the masters, digitized them, brought them to vegas, and produced the music for the show in a way that we are replicating everything that was heard and wrote. what we have here on the master tapes. >> larry: can we sea some sounds? >> yeah. this is the very beginning mix. the drums you are hearing here are actually from another song -- from the end of abbey road. and what you'll get is "get back" the start of a song underneath it.
it gives people a chance to peel back the layers of dust that's gathered in 40 years. it's like listening as if they're playing in the room. they were in their 20s. here in this studio, they're still in their 20s ♪ baby you can drive my car ♪ and baby i love you ♪ the benefit of -- ♪ there will be a show tonight. >> larry: everything that happens has to fit the song that happens. >> normally we build our show and the music would follow in support. now we had to work on the music. so basically what we've done, i went to london working with george martin and giles, martin's son. >> we took the masters, digitized them, brought them to vegas, and produced the music for the show in a way that we are replicating everything that was heard and wrote. what we have here on the master
♪ there will be a show tonight. >> larry: everything that happens has to fit the song that happens. >> normally we build our show and the music would follow in support. now we had to work on the music. so basically what we've done, i went to london working with george martin and giles, martin's son. >> we took the masters, digitized them, brought them to vegas, and produced the music for the show in a way that we are replicating everything that was heard and wrote. what we have here on the master tapes. >> larry: can we sea some sounds? >> yeah. this is the very beginning mix. the drums you are hearing here are actually from another song -- from the end of abbey road. and what you'll get is "get back" the start of a song underneath it. so these are two songs.