Compleat Liner Notes
Japanese version coming soon!
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Compleat Liner Notes |
The phrase "The Get Back Sessions" usually draws one of two reactions among Beatle fans -extreme fascination or extreme boredom. If you are holding this 8 CD set in your hands, you probably fall into the first category, and we assure you that there are numerous newly released and upgraded segments on these eight discs to help feed your appetite for "more". If you fall into the latter group, we hope to make you a convert - as this set contains quite a bit of "listenable" material.
These sessions have been debated among collectors for many years. A "scholarly" in-depth look at this crucial time in the Beatles' careers surfaced in 1994 as Drugs Divorce And A Slipping Image by Doug Sulpy and Ray Schweighartdt. (Later in 1997 published under the title Get Back with a revised numbering system - any references that follow here are to DDSI's original form). The authors were keen in pointing out that when listened to as a whole, these sessions - the music and the talk (or obvious lack there of!) - paint a fascinating picture of the final months of the band, filled with many new insights. Paul wasn't always the bad guy here. George played a large role as "musical arranger" for songs by the big-two, but he still couldn't get their full attention for his own works. John was frustrated, uninspired and usually strung out. Everyone always enjoyed going to Ringo's. And though they were drifting and falling apart, they could still close ranks and dish it out to anyone who tried to impose unwanted or unwelcome ideas on them. After listening to the bulk of all of the "Get Back" material that has surfaced, it's harder to imagine how they managed to stay together and pull off Abbey Road, than it is to wonder why they broke up.
SOME BACKGROUND FOR EASIER LISTENING:
The sessions commonly referred to as the "Get Back Sessions" took place during January 1969. (Jan 2nd - 15th at Twickenham Studios; Jan 22nd - 31st at Apple Studios). Paul originally conceived the project back in late '68, believing that they could revitalize the band by returning to live performances. The Beatles were to be filmed writing, rehearsing, and recording, culminating with the actual live show (the logistics of which were never really settled, resulting in "the roof top" as a last itch compromise).
The majority of the tapes from these sessions come to us via the film sound reels. The film crew used two Nagra mono reel to reel machines, each assigned to a camera, and each holding approx. 16 minute reels of tape.
They were staggered, so that in most cases, when the tape ran out on one, the other was still rolling. The beeps that can be heard are the sync cues each time a camera began filming. The Twickenham rolls where each numbered consecutively followed by an "A" or "B" to identify the camera to which it was assigned. Announcements of audio rolls came at the start of the tape, and film rolls can be heard announced throughout. A total of 223 rolls of audio were recorded at Twickenham. It should be noted that Glyn Johns brought in some mono studio equipment and recorded some performances simply to allow the group to hear what they had before continuing on with rehearsals. So far, these tapes of Glyn's have not surfaced, and were possibly never saved.
Don't let some of the song listings fool you. In many cases they have come for the "sister reel" of the rolls that have been previously available. This results in a few complete or longer versions of some previously known takes, as well as shorter, incomplete versions of others. Overall, this package represents some of the best sounding sources to date.
Notations used in this outline: ( + ) means it's longer than the tape discussed in DDSI, and is probably its first appearance on CD in this form. ( - ) shorter than the tape described in DDSI ( ** ) Means it was not included in DDSI at all, and therefore most likely making its first CD appearance.
DDSI and its later Get Back version are invaluable guides to sorting out your mishmash of "Get Back" material, and can add infinitely to your understanding and enjoyment. They are highly recommended, but not necessary to fully appreciate the discs in this set. Bon appetite!
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TWICKENHAM SET DISC 1: "I LIKE SIMPLE TUNES" | |
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1) Monday, Jan 2nd 1969, roll 1 A cam: 2) Friday, Jan 3rd, roll 50 B : 3) Jan 3rd continued, roll 13A: 4) Jan 3rd continued, roll 52 B: 5) Jan 3rd continued: 6) Monday, Jan 6th
This disc opens with dialogue from the first day of shooting. John is auditioning two of his numbers for George, as they greet the New Year, and each other. (This section previously appeared on "The First Recorded Hour" CD.) | SOME AMAZING NEWLY AVAILABLE MATERIAL FOLLOWS. It is 10:40 am, on Jan 3rd. Paul is the first to arrive (always early) followed by Ringo (always on time). Macca is pouring through the newest entries in his song portfolio. We are treated to very early workings of "Long & Winding Road", "Oh Darling" along with a run through of "Maxwell ...", which features lyrics thrown in by Mal Evans and Ringo. They had spent most of Jan. 2nd just getting used to their surroundings, acquainting themselves with some new material, reacquainting themselves with some oldies, and discussing concepts for the "live" show. On Friday, the 3rd, the rehearsals are just a tiny bit more structured, but the boys are quite easily sidetracked into oldies jams; thus rendering the day fairly unproductive. Some of what follows next is recognizable as having previously been available on the old vinyl Sweet Apple Trax III, but the quality has never been this good! Owners of the original wax may notice that many of the titles appearing on this CD seem to have come from a 'sister reel' to the source used on the vinyl release, as we have included some longer variations of the same takes. These include a most enjoyable version of "One After 909" - complete with very Carl Perkins-like guitar parts - and some nice attempts at "Two Of Us". Disc 1 ends with a taste of Monday, the 6th, as the tape picks up during their usual morning warm-up oldies jam. There is an extremely brief performance of "Let It Down" by George; a full group version will not appear until the sessions move to Apple. George moves on to a oldie that seems known to all (featuring the words "Look what you've done. You've made a fool of someone"). Up next is a slew of neat oldies, featuring a delightful rendition of "Sure To Fall". The disc concludes with a take on "Right String, Wrong Yo-Yo". |
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TWICKENHAM SET DISC 2: "YOU BETTER TAKE CONTROL JOHN!" | |
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1) Monday Jan 6th continued, roll 46A: 2) Jan 6th continued, roll 69B: 3) Jan 6th continued, roll 70B: 4) Tuesday Jan 7th 1969, roll 50A: 5) Jan 7th continued, roll 57A: 6) Jan 7th continued: 7) Jan 7th continued, roll 65 A:
As the sessions for the 6th continue, it becomes clear that frustrations are running high. The boys just can't seem to make much of anything happen to their liking. The infamous George vs. Paul argument (a portion of which is seen in the finished movie Let It Be) takes place just prior to the point in time where the tape for this disc begins (DDSI 6.36). Patience has been tried; over both the music and the live show concepts. This blow out is basically the result of a clash in George and Paul's working styles (with John's lack of participation, even on his own compositions, not helping matters either). Almost everything that follows has a tenseness about it. Even the oldies jams do not seem to help. | As Disc 2 opens, the band is still trying their hand at "Two Of Us". They eventually move on to revisit "Across The Universe", which (unlike the tape referenced by DDSI) is complete here. Though John cannot remember the words, he truly wishes to re-record the song "better" than the original '68 version. It's now George's turn. The band has been attempting "All Things Must Pass". Paul offers a truly annoying harmony part throughout, which may or may not be obnoxious on purpose - perhaps in a bid to throw George's working style right back in his face. Eventually, John's organ playing reminds him of the old Chris Montez hit "Let's Dance". The session comes to a close with a lackluster, yet competent, run-though of "Bathroom Window". Apparently worried by the tone of the day's session, Michael feels the need to remind them on their way out that they need to show up at 10:10 the next day! Unfortunately, the mood does not improve with the dawn of a new day. The morning begins as it almost always does, with Paul playing the piano while he waits for the others to arrive. Among the tunes offered up is a piano piece that he will revisit a few times during the sessions. He would eventually record this piece later in his solo career as "King Of The Birds". It should be noted that a large portion of this day's session was spent discussing the various scenarios for the live show. Michael wants to traipse off to various exotic locations. Ringo is dead set against going abroad. George is generally pessimistic about almost any idea - period. John is notably absent from most of the conversations. Paul has quite a few ideas, but he wants a decision from the others ASAP. At one point. McCartney goes so far as to ask the others why they even "bother showing up" if they don't want to do the show. Typically ... he gets no response. Later in the conversations, the self-evident uselessness of it all brings up not only aborting the project, but the band as well! Even this doomsday approach does not draw John into the conversations! After all of this, they finally - somehow - get down to some music. This disc picks up the action with an uninspired attempt at "I've Got a Feeling". The version of "Oh Darling" is quite good. considering that it seems to have been impromptu. A bit of Elvis Presley's "One Night" even gets thrown into the middle. It is interesting to note that the run through of "Maxwell ..." features a middle eight in a waltz tempo, which Paul quickly trashes. More warm-up oldies follow, which precede the band's attempt to go over "Across The Universe''. John still does not have his lyric sheet, and can't even remember the first line. He complains that it isn't up-tempo enough, and that they need more "rockers", while quickly admitting that he's just too tired to write one himself. Once the lyrics arrive, the rehearsals for this song still manage to go nowhere. Paul warns him to "take control", and John responds by reverting to an oldie in the tempo that he sorely desires! Despite John's efforts, it does little to lift the next attempt at "Universe" out of the doldrums. Moving on to "Dig A Pony" results in a similar stagnant performance. Only " ... 909" holds promise. But the band plays on. |
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TWICKENHAM SET DISC 3: "COME ON HARRISON, LIFT US OUT OF THIS MYRRH" | |
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1) Tuesday Jan 7th continued: 2) Jan 7th continued, roll 70: 3) Wednesday January 8th, 1969, roll 70 A: 4) January 8th, continued, roll 71A: 5) January 8th continued, roll 72A: 6) Jan 8th continued, roll 74A: 7) Jan 8th continued, roll 79A: 8) Jan 8th continued, roll 84A:
This third CD of the set again features many songs that never appeared on bootleg vinyl. Those that have surfaced (in bits formerly found on Watching Rainbows, From A Whisper, and Almost Grown) appear here in superior quality. | The disc opens with the winding down of the Jan 7th sessions; a flurry of oldies and improvisations, capped off with a rather decent performance of "Bathroom Window". The 8th is the one day that George and Ringo beat Paul to the studios. but the first segment here is the daily, sacrificial, oldies warm-up. Pleased with their run through of "Two Of Us" (a portion of which can be seen in the movie), they then turn in strong performances of "Don't Let Me Down", "I've Got A Feeling" and " ... 909". Paul then solicits requests as to what to rehearse next. At this point it seems that the DDSI tape did not include a number of performances prior to the "8.21-All Things Must Pass". Ringo wishes to do "Bathroom Window", and this is met with the bass line, drum pattern, and some singing of the tune. Paul continues on, turning the bass line into something similar to "One Way Out" (a song popularized by the Allman Bros). More tuning and doodling follows, with the group seeming to focus around a specific, yet unidentified tune, John asks Paul how he gets that tone and swirling effect. Paul tells him to use the Leslie, or that he could get the same effect by shaking his head! Paul restarts the same unknown tune, this time singing undecipherable words! George wants to tape, and Glyn replies that he should have a machine in, hopefully, five minutes. Paul continues with the same number, which seems familiar to Ringo, and even George joins in on the vocals! ("... with anyone, I want to roam alone, she fell in love, ... la-la-la la-la ...") and then we finally get to (song 8.21 in DDSI), "All Things Must Pass". The disc moves on to a segment that was prominently featured on the Watching Rainbows LP, however it appears here in master quality! It features a diversion b+." John into "Mean Mr. Mustard" and a complete version of "All Things Must Pass" with John on piano. Next up is a previously unavailable bit, which includes the teaching of "I Me Mine" to the band (this is most likely the missing first part of DDSI song 8.39). We then jump ahead to another diversion of rambling oldies in the middle of the "I Me Mine" rehearsals, as the band waits for recording equipment to be set up. The disc ends with a few more attempts at George's number, in which he accuses Ringo of "doin' the 'McArthur Park' thing again". It should be noted here that later in the afternoon on the 8th, a long, intense discussion about the live show takes place. Despite Paul and George re-affirming Ringo's wish about not traveling abroad earlier in the sessions, it seems now that they will be traveling after all. The show idea has grown into the band taking a voyage on a boat filled with British fans to some exotic destination. John, unlike previous conversations, is very vocal in his approval of such an excursion. Ringo really doesn't want to go; he'd rather do the show in England, but he doesn't outright refuse. Paul is enthused, not just by the idea, but by the fact that it looks like they are finally close to a group decision. George hates the idea, and argues against it, from both a personal and a practical perspective. Ringo, too, is still trying to talk them out of it. They are all asked to sleep on it, so they can make their plans the following day. |
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TWICKENHAM SET DISC 4: "THE THING THAT'S UP AHEAD" | |
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1) Thursday, Jan 9th 1969, roll 90B: 2) Jan 9th continued, roll 91B: 3) Jan 9th continued, roll 92B: 4) Jan 9th continued, roll 93B: 5) Jan 9th continued, roll 94B:
Despite the bitter arguing about the live show plans that ended the previous days sessions, January 9th seems to be one of the most enjoyable days musically, for both the band and the listeners of this set. | As is his usual style, Pal1 is the first to arrive, and he bides his time until the others stroll in by journeying through the Macca song catalogue. The instrumental that follows "Another Day" is very "Rupert"-like. Next up is a smidgen of "Let It Be", followed by "The Long And Winding Road". DDSI's tape cut out after only :47 of the latter, and the authors concluded that Paul was playing these abridged versions simply to show off. This 4th disc presents for the first time, however, the full segment of this tune with a running time of over 6 minutes! From it, we learn a few interesting new details. Ringo arrives during this performance and is greeted by Paul with "Goodnight!" - an obvious reference to Ringo's continued struggle with the bands early daytime schedule. While still playing on. Paul jokingly tells Ringo that they're doing the show on a farm in Scotland. "What? What?" shouts Ringo in mock anger, and Paul responds reassuringly with "Just joking, we're doing the show on a farm in Yugoslavia". As the song continues, Mal, who has been acting as scribe through out this entire "songbook" segment, suggests lyrics as Ringo harmonizes along. Another highlight of this disc is the first presentation of the FULL segment of what would years later turn into "King Of The Birds". In DDSI, the performance is listed rather unceremoniously as "9.14 instrumental" and "9.15 instrumental"; a "ponderous, airy piano instrumental" and an "instrumental improvisation" which has Ringo "unsuccessfully trying to find a beat". This FULL segment (which runs over 9:00) begins with George's arrival. Paul starts this "Rupert" theme music, and plays solo for about three minutes, after which he is joined by Ringo, and the two continue to play for another six! Sections of this improvisation are actually quite good, with Ringo and Paul locking into each other's groove. This disc also features, following Paul's number, an extended "For You Blue" workshop that begins after John has arrived. Obviously in reference to the show discussions of yesterday, John asks "What's the score?" George responds with nonsense more typical of Lennon. |
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TWICKENHAM SET DISC 5: "DANCE STEPS LIKE THE SHADOWS" | |
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1) Thursday Jan 9th continued, roll 92 A: 2) Jan 9th continued, roll 97A: 3) Jan 9th continued, roll 99A: 4) Jan 9th continued, roll 100A: 5) Jan 9th continued, roll 103A:
Disc 5 continues with performances from January 9th. | In segment 1 of Disc 5, we are treated to the best possible sound quality of material that will be recognizable to those who owned the infamous Sweet Apple Trax LP. George, who is not very pleased with the idea of a live show at all, regardless of the venue, throws a jab as Paul talks about the stage and equipment set up, with his interjection that they still have to learn their dance steps "... like the Shadows". Segment 2 seems to indicate that songs 9.57 & 9.58 in DDSI are mistakenly numbered. The tape for this disc reveals that the 9.56 version of "Get Back" flows through 2 different "Get Back"'s straight into 9.59. Only portions of this segment were on Sweet Apple Trax, and again, all segments are included here in the best available quality. It begins with an early version of "No Pakistanis/Get Back". It should be noted that DDSI goes into wonderful detail about the origins of the subject matter of "No Pakistanis" (as well as that of "Commonwealth/Enoch Powell/Get Off" from Segment 3). To summarize, they all stem from the morning newspaper/TV reports about, and the reactions to, Parliament member Enoch Powell's re-patriotation movement (The sending back to their country of origin, all non-white citizens of the British Empire living on visas in England). When the song ends, Michael asks Paul about "the one he was doing earlier", and Paul responds with a riff resembling the guitar part of "Let It Be". Paul goes on to say that it would be "nice after this one", implying that he would use the riff again in " ... Pakistani". George, once again reprising his role as musical arranger for the band, says that "it would be great in that, but being that it's such a nice bit", Paul should use it elsewhere. This discussion is followed by a demonstration of the riff in question, some experimentation, and then a free-form jam loosely based on "Get Back". Segment 3 offers not only an upgrade of previous Sweet Apple Trax material, it also offers previously unavailable run-throughs of "For You Blue". After a few oldies and some stream-of-consciousness jams, George finally gets the band's attention to tackle "For You Blue". The first attempt is cut short by Paul because he cannot hear George, but it is followed by a rather tight run through. A discussion about the arrangement of the tune takes p[ace as Paul continuously pounds out the bass line, Inevitably, the song starts again, but breaks down at the start of the first verse. Paul, however, keeps going. Soon they all fall back into a brief jam that a]most borders on morphing into "Mean Mr. Mustard"! Apparently Paul picks up on this as he advises "Let's pick and choose John ... must discrepenate"[sic]. George starts again (on acoustic), joined by Ringo and Paul. George stops, and is still discussing his choice of instruments as Paul begins doing an Elvis vocal goof. Next is another example of the lack of respect George's material received from the others, especially John. George asks if they should perform other people's tunes as well as their own for the show. John says he doesn't know any and that he can hardly bare doing George's, " ... never mind strangers"! George comes back with a masked dig, saying that others' songs are "much better than ours"; to which Lennon replies "That's why I don't learn them!" With that, George starts again, while Paul continues voicing goofy lines over him. Any hope of a serious attempt is long gone. Segment 4 offers a great deal of previously unavailable material, excepting small fragments which were "teased" on the vinyl Code Name Russia, or which appeared on the Orange CD series Rockin' Movie Stars. This segment features a number of "Let It Be" performances. The musical arrangement finds Paul on piano and John on bass, with the recording mixed under and over conversations picked up by Michael's "spy mikes". John is clearly not pleased about having to play bass, and he restlessly rifts through all sorts of oldies. After John's order to "get on your fucking instruments", Ringo and George finally join in during the "Jenny Jenny" medley. This eventually leads to a group attempt at "Let It Be". |
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TWICKENHAM SET DISC 6: "DICK JAMES IS A FASCIST BUM" | |
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1) First thing January 10th 1969, roll 108A: 2) Jan 10th (before lunch) continued, roll 109A: 3) Jan 10th (before lunch) continued, roll 110A: 4) Jan 10th (before lunch) continued, roll 112A: 5) Jan 10th (before lunch) continued, roll 113A: 6) Jan 10th (after lunch) continued, roll 118A: 7) Jan 10th (after lunch) continued, roll 119A:
There is very little of Disc number 6 that surfaced before on vinyl. In fact, the entire has segment I is not even mentioned in DDSI. The few other items that have been out (on Code Name Russia or on the Orange Rockin' Movie Stars CD's) are here in the best available quality. | January 10th is the infamous day that George left the band. The entire project; the lack of direction, focus, energy, cooperation, as well as one another's respective personalities, were getting on the nerves of all involved. No one could agree on ideas for the live show, and they found the facilities to be less than desirable, and not at all conducive to creating music. And then there was the ever present cameras and microphones. The communication skills (and the motivation) of the four were at an all time low, and the idea that any comment, argument, etc would be captured for all eternity on tape could not have been an incentive to FULLY speak one's mind. The morning segments hardly indicate anything brewing to cause George's departure. Moods seem good. Paul is at the piano, following his daily pattern running through various tunes. Over his playing, a number of conversations take place, some more audible than others, due to the mixing of the "spy mikes". These dialogues deal with smoking cigars verses cigarettes, getting stopped for speeding, and how a uniform can change people. George then talks about a film maker that he's invited to drop by later to show some of his multi-screen/image work that George feels could be incorporated as incidental background for their music. Obviously, Michael is not taken by the idea of another filmmaker entering his turf, and changes the subject by asking about Alexis (Magic Alex). George goes into the story about how they hooked up with him, and then explains that Alex has designed quite a lot of things, but hasn't made them because he's been so busy building the new studios [HA HA HA! - ed.]. Michael asks if the device Alex designed to put on records to prevent people from taping them will work. George thinks so, and everyone seems to think it's a marvelous idea. Ringo points out that John thinks it makes for "bad Beatles". George defends his position stating that Americans with those cassette recorders [a VERY expensive item in '69 - ed.] will run off copies and sell them. Michael chimes in with "If you're rich enough to buy a cassette recorder, you're rich enough to buy an LP", obviously missing the point. The ironic part of this whole conversation is that they are worried about some kid knockin' off a few copies of their new album, while Magic Alex is taking them all for more money that any American cassette taper could ever pocket! Later, the talk turns to the upcoming Apple meeting to be held at Ringo's house that weekend. George also tells John that Neil wants to meet with them tomorrow about "exciting good news". John asks if it's about "pig". George answers "No, not with him, but with some of the other pigs". From the secretive code and tone, there is probably new information regarding the police involved in their past drug busts. During a conversation with Dick James, Paul launches into "Get Back" (10.0j). He stops and comments to Glyn that George's chord "get back, ching" is a bit "passe". Paul wants something more "Pete Townshend"! Paul continues to experiment with various tunes, and the conversation turns to cars, before Paul finally gets things started. The "Get Back" rehearsal seems to go quite well. They are making progress; working on both the structure and the lyrics, which results in a very enjoyable, upbeat version, complete with the Pakistani political verse. After a short diversion into "Hi Heel Sneakers", Paul suggests that both John & George could each take a solo, like in "Long Tall Sally", which prompts a brief, very loose jam of that tune, mixed in with "Get Back". John tries the opening of the song a few different ways, and this is followed by Paul trying to convey to Ringo his ideas for the drum bits. Whatever caused George to [eave must have happened at lunch. The next segment here picks up just after George has left, and three VERY DRUNK Beatles (plus Yoko) are in the middle of a jam that began with John's reprise of "Soon be home", from the Who's "A Quick One While He's Away". This jam, which sounds a bit like "Don't Worry Kyoko", moves through all sorts of intensity levels. It features ferocious drumming from Ringo, manic guitar from John, mega-feedback from Paul and a wide range of "ah"-ing from Yoko. Tremendous. Next up is the feedback version of "I've Got A Feeling". (This must have been a liquid lunch!), and a scream filled send-up of "Don't Let Me Down". They try to continue on with rehearsals by attempting "Maxwell ...". Ringo starts in, and is reminded of "Mack The Knife", of which he sings a line or two. Paul comes back with a few notes and the opening words of "Teddy Boy" (they always kidded Ringo for being a real Ted in his early days). "Maxwell ... " turns into a drunken parody, and it's quite obvious that they are not gonna get any serious work done. It is interesting to note that the Beatles themselves are not heard talking directly about George leaving by this point, but they refer to the event with their sarcastic calls of "take it" and "solo" at the appropriate points in a few of the songs. It seems that George Martin and Michael are the only ones voicing any concern. |
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TWICKENHAM SET DISC 7: "WE SHOULD JUST GO ON AS IF NOTHING'S HAPPENED?" | |
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1) Jan 10th continued, roll 120A: 2) Jan 10th continued, roll 122A: 3) Monday January 13th 1969, roll 134A: 4) Jan 13th continued, roll 136A: 5) Tuesday, January 14th 1969, roll 121B: 6) Jan 14th continued, roll 138A: 7) Jan 14th continued, roll 139A:
The after lunch session of the 10th continues, though things have calmed down a bit. Prior to the conversation that begins this disc, they have been vaguely discussing the live show plans. At one point, Michael asks what they want to do next, and John jokes that they're gonna split up George's equipment amongst them! Not much is getting done here either, and it's not long before Paul can no longer bare to be away from the piano. Again, the conversations take place around and on top of the music. | The opening discussion is about sending Mal Evans off to scout locations in Tripoli. Neil is not too keen on the choice of scouts, unsure of trusting Mal's judgment. A very nice instrumental version of "Long & Winding Road", is followed by a very classical-sounding piece (which Paul has played around with twice before during these sessions). The most interesting bit is "Martha My Dear" and the resulting 9 minute and 7 minute experimental jams that take place based in and around it! While Paul plays, Ringo taps along. He can't seem to remember if the drummer who filled in for him in '64 was Jimmy or Bobby Nichols. The conversation then turns to the question of what to do if George doesn't come back (John says he'll just ask Eric Clapton). Yoko asks for a mike. As the conversation continues, she calls, then yells. and then screeches "John", who jokingly answers by screaming "WHAT?". Ringo gets involved a few times by answering with "I'm afraid he's not in", and a stronger "HE'S BUSY!". Paul is still playing, and Yoko is still "John"-ing. Eerily, they all seem to move from being annoyed, to joining in. Paul's tune slightly changes, (into something more like "Heart & Soul") and he now seems to be accompanying Yoko. Ringo is even yelling "John!". When the tape outs back in, Paul is back to a more "Martha ... " type tune, with Ringo singing "You are my John" in place of the correct lyric. Yoko is still "John"-ing. Paul then moves again into the "Heart & Soul" direction, while Yoko is still going strong. The bit ends with a big piano flourish and vigorous hand clapping from Ringo. But wait folks! Another Paul/Yoko jam is brewing. It's not long before Paul is back playing another variation of the "King of The Birds" piece. Yoko starts vocalizing again, and this time, John joins in on guitar. He is really making the effort to follow Paul's melody. Ringo is hand clapping, and Yoko throws in some of her patented "bleeting". As she moves on to "John"-ing again. Ringo picks up the tambourine, while Paul continues his piano theme. At its conclusion, John asks to do it again! The "John"-ing starts and the others all fail back in. After about 7 minutes. Paul drops out, and the piece fades to just John's guitar sound experiments mixed with Yoko's wailing. We rejoin our boys on Monday, January 13, 1969. The band meeting was held over the weekend at Ringo's. George showed, but walked out. He does not show up for Monday's session. In fact, John fails to arrive until after 3pm! They attempt to work on "Get Back" and are concentrating on the details; lyrics, drum fills, guitar breaks, etc. Mal is busy transcribing lyrics. It is a bit difficult to follow along with DDSI for this segment, as it seems the piece which they have labeled as 13.18 actually occurs between 13.10 & 13.11. It appears in its complete form on this disc, and it has been labeled in these notes as 13.10b). When Tuesday, the 14th arrives, George is still boycotting. Paul is again the first on the scene, and he plants himself at the piano. While running through various treatments of "Lady Jane", he begins to wonder if he'll be the ONLY one to show. When Ringo arrives, they launch into the "Piano Boogie" duet that is seen in the movie. (aka "Bought A Piano"). They go on to discuss Peter & Gordon, and Johnny Cash. The highlight of this segment is Paul's presentation of "Back Seat Of My Car". When someone comments on how Beach Boys-ish it sounds, Paul exaggerates it to the extreme, complete with vocalizations as to how the Beach Boys would have orchestrated it! He stops to take a phone call, and Ringo and Mal discuss both John's late arrival, and a TV horror show from the night before. Paul eventually returns to his piano. More from the 14th is continued on disc 8. |
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TWICKENHAM SET DISC 8: "RINGO, IT'S BEEN GREAT WORKING WITH YOU MAN!" | |
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1) January 14th continued: 2) January 14th continued roll 145A: 3) January 14th continued, roll 146A: 4) January 14th continued, roll 147A: 5) January 15th 1969, roll 148A:
The session from the 14th continues. | Paul, Ringo and crew kill time until John arrives. When he does, they take a crack at his new song Parts of "Madman", "Watching Rainbows" and assorted oldies that are alluded to have previously surfaced on vinyl, but they are here in their best and fullest forms. Mixed in with the Chuck Berry-ish jams, one can hear many hints of the future Beatle track "Come Together". Next, Paul seems to test the "Pete Townshend" riff he spoke of on the 10th (10.0j) for "Get Back". John interrupts, complaining that he can't keep up with the riff on the piano! They pick up again, with JOHN singing! A blues jam begins to develop, but it falls apart midway, turning into "tuning" festival. It picks back up, and becomes a bluesy version of "Madman". Ringo drops out after about 6 minutes, prompting John to yell "Ringo, it's been great working with you man!". Apparently, Ringo, who has felt ill all day, is leaving. John responds tongue-in-cheek, as if he's walking out as George did. After a quick reprise of "Madman", and a brief offering of "You Know My Name", they begin to discuss George. Paul explains that George will return from Liverpool the next day, and John enthusiastically brings up going to see him. A meeting of all four of them is apparently in the works for Wednesday, but Paul requests that the filming stop if they are to continue their discussion. The final session at Twickenham wasn't really a session at all, and what little of it exists, closes out this CD series. Due to the planned meeting with George, no session seems to have taken place. Instead, Paul, most likely the only one to arrive, runs through a few tunes for the crew's benefit. They move on to Apple studios on Wednesday, the 22nd. But that, dear listeners, is a whole other set!! |
Enjoy this incredible offering from the first, and foremost Beatles label ... Yellow Dog.
Deaf Ted and Danoot
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