Tuesday, April 11, 2017

The Beatles - 1969 - A/B Road

The Beatles

January, 1969

"A/B Road" session tapes

Also known as The Nagra Reels






Background info, from Doug Sulpy's "Complete Beatle's Audio Guide"
From Doug Sulpy
2006 Edition
THE "GET BACK” SESSIONS
I'll make this easy for you.
You need Purple Chick's "A/B Road" series. Period. No doubt, using one of my previous books as a template (at least I hope he did - I'd hate to think of two people going through all that work!) Purple Chick has compiled every extant moment from the Nagra A and B rolls and edited them together in sequence.
In January, 1969, virtually every moment of The Beatles' rehearsals and recording sessions were captured on audio tape as part of the project that ultimately became the film "Let It Be." For the first part of the month, at Twickenham Film Studios in London, The Beatles' performances were only preserved on small 16 minute long mono tapes (known as "Nagra" reels) that were recorded for use as the film soundtrack.
Two different tape recorders were running (usually off of the same sound feed), resulting in what was termed "A" and "B" roll Nagra recordings. The "A" rolls generally ran the full 16 minute length of the tape. The "B" rolls were more fragmentary, but often captured performances or dialogue missed while the "A" roll operator was changing reels. In addition, once the sessions shifted to Apple Studios on January 21st, Glyn Johns began recording multi-track tapes of The Beatles' sessions which, again, sometimes captured performances not heard on either the "A" or "B" roll Nagra recordings.
In 2004, Purple Chick collated these recordings, and issued them in a series of CDs called "A/B Road."
These are now the most readily available source for the "Get Back" sessions material.

Further history on the Nagra Reels (source of this giant set)
By ALLAN KOZINN
Published: January 13, 2003
To read the statements made by British and Dutch officials after the arrest of a group of bootleggers in suburbs of London Amsterdam on Friday, one would think that the police had apprehended a band of thieves who for the last three decades had been sitting on a vast trove of long-lost master tapes from Beatles recording sessions. There is an element of truth in what they say, but also a good measure of exaggeration. Whether the seizure of these tapes should be regarded as good news -- and for that matter whether it will have any effect on the thriving trade in Beatles bootlegs -- is another matter.
What the police seized was a collection of 500 to 550 reels of tape, each running about 16 minutes. They were recorded during the sessions for the Beatles' ''Let It Be'' album -- originally to be called ''Get Back'' -- from Jan. 2 to Jan. 31, 1969.
But they are not the multitrack session masters from which the album was made. Those are safely in EMI's archives. Instead, they are monaural recordings made on a pair of Nagra tape recorders for reference purposes by a film crew that was documenting the sessions for a proposed television documentary. When the television plan was scuttled, the film was released theatrically as ''Let It Be.''
It is unquestionably an important collection. Unlike normal session tapes, which usually include only performances, the Nagra reels, as these tapes are known, run continuously and capture everything: rehearsals, discussions, arguments, clowning and loose jams on Buddy Holly and Chuck Berry classics as well as older Beatles tunes and oddities like the theme from ''The Third Man,'' all in addition to the nose-to-the-grindstone work of making an album. No other set of Beatles sessions is so thoroughly documented.
These tapes are well known to collectors. Instantly recognizable because the film crew is regularly heard announcing slate and roll numbers, the material was the source for some of the first Beatles bootlegs in the early 1970's. Until the early 90's the trend in Beatles bootlegging was to compile collections of the most interesting performances and discussions. More recently, bootleg labels began releasing these tapes more systematically: unedited, in chronological order and with reel numbers and recording dates fully documented.
These tapes have also been the subject of two books: ''Get Back: The Unauthorized Chronicle of the Beatles' 'Let It Be' Disaster,'' by Doug Sulpy and Ray Schweighardt (St. Martin's, 1994), and ''The 910's Guide to the Beatles' Outtakes: The Complete 'Get Back' Sessions,'' a comprehensive catalog of the material by Mr. Sulpy (The 910, 2002).
As originally proposed, the idea for ''Let It Be'' was elegantly simple. Having completed the White Album a few months earlier, the Beatles were to convene at the Twickenham film studios in London to rehearse an album's worth of new songs. The rehearsals would be filmed by Michael Lindsay-Hogg, an expatriate American who had directed their promotional clips for ''Paperback Writer'' and ''Rain'' in 1966, as would the highlight of the project, a concert at which the Beatles would perform their new material.
What the plan did not take into account were the increasingly fractious relations among three of the four Beatles. John Lennon, more interested in his collaborations with Yoko Ono than in the Beatles, wanted either to involve her in the band or to distance himself from it. He brought a handful of songs to the sessions, and is heard in a few hilarious monologues (including one about how masturbation ''doesn't make you go blind, only very shortsighted'') but is often passive and uninvolved.
George Harrison, by then a prolific songwriter, was disgruntled about his paltry representation on the Beatles' albums, which were always dominated by the music of Lennon and Paul McCartney. He was also uninterested in performing in concert, and irritated by what he regarded as Mr. McCartney's condescension in telling him what to play. At one point Harrison walked out, effectively (if temporarily) quitting the band, leaving the others to pursue a series of aggressive but fascinating jams with Ms. Ono vocalizing. Mr. McCartney is at times almost despondent about his partners' lack of interest and cooperation. Only Ringo Starr seems to be taking the sessions in stride.
In the end Harrison returned, but only after being guaranteed that his songs would receive greater consideration, and that there would be no more talk of a concert. The project was completed with a series of performances filmed at the group's new Apple studios, and on the rooftop of their London offices.
What makes these tapes crucial to Beatles biographers and musicians interested in studying the band's working process is that they capture it all. The rehearsals often begin with one of the Beatles playing a new song while calling out the chord progression to the others. The group joins in and works through the changes, and ideas for arrangements slowly accrue.
Some songs -- ''Two of Us,'' ''One After 909'' and ''Get Back,'' for example -- are tried as everything from sizzling, fasttempo rockers to country-influenced ballads.
The process of lyric writing unfolds before the listener's ears as well. In one session for ''Get Back,'' Mr. McCartney stops during a run-through and says, ''I've got it -- Jo Jo left his home in Tucson, Arizona.'' Lennon asks, ''Is Tucson in Arizona?''
Mr. McCartney replies, ''Yeah, it's where they make 'High Chaparral.' ''
There is also a good deal of material that, even for the Beatles-obsessed, can be hard slogging -- hours and hours and hours of ''The Long and Winding Road,'' for example. And the discussions, which often last several reels at a stretch, range from the amusingly loopy to the contentious. Several are about the proposed concert. Among the plans suggested are playing in an amphitheater in North Africa, or on a cruise ship on the Mediterranean. When Harrison quits, Mr. Lindsay-Hogg suggests going on with the show and saying that Harrison is ill, to which Lennon replies, ''If he's not back by Tuesday, we'll call Eric Clapton.'' One reel captures a lunch meeting at which the group airs its problems in some detail.


Had these illuminating tapes not already found their way onto the collectors' market, their seizure would be unfortunate, because it is unlikely that Apple, the Beatles' company, will ever sanction their legitimate release. Apple has even tried to stifle scholarly discussion of them. When Mr. Sulpy and Mr. Schweighardt were at work on their first book, they naïvely sent Apple a sample chapter and sought permission to hear the studio recordings. Apple responded by threatening legal action.


Get Back/Let It Be sessions: day 1 

January 2, 1969 


Disc 1: (1:19:38)
01: Dialogue And Slates (0:04)
02: Dialogue And Slates (0:05)
03: Dialogue And Slates (0:27)
04: Dialogue And Slates (0:08)
05: Dialogue And Slates (0:05)
06: Dialogue And Slates (0:10)
07: Dialogue And Slates (0:05)
08: Don't Let Me Down 2.01 (0:33)
09: Tuning (0:04)
10: Tuning (0:19)
11: Tuning (0:04)
12: All Things Must Pass 2.02 (0:27)
13: Tuning (0:27)
14: Don't Let Me Down 2.03 (4:16)
15: Dig A Pony 2.04 (3:05)
16: Everybody Got Song 2.05 (0:45)
17: Don't Let Me Down 2.06 (3:09)
18: Let It Down 2.07 (2:14)
19: Let It Down 2.08 (0:53)
20: Improvisation 2.09 (0:57)
21: Brown-eyed Handsome Man 2.10 (1:43)
22: I've Got A Feeling 2.11 (1:19)
23: A Case Of The Blues 2.12 (1:09)
24: Improvisation 2.13 (0:24)
25: Improvisation 2.13 (0:51)
26: On The Road To Marrakesh 2.15 (2:08)
27: Revolution 2.16 (0:08)
28: I Shall Be Released 2.17 (1:53)
29: Sun King 2.18 (2:20)
30: Sun King Don't Let Me Down 2.19 (4:59)
31: Don't Let Me Down 2.20 (3:34)
32: The Teacher Was A-lookin 2.21 (1:00)
33: Don't Let Me Down 2.22 (0:20)
34: Don't Let Me Down 2.23 (0:26)
35: Sun King 2.24 (0:28)
36: Mailman, Bring Me No More Blues 2.25 (0:21)
37: I've Got A Feeling 2.26 (3:40)
38: Unknown - Unnumbered (0:09)
39: I've Got A Feeling 2.27 (1:15)
40: I've Got A Feeling 2.28 (0:04)
41: I've Got A Feeling 2.29 (0:05)
42: I've Got A Feeling 2.30 (11:00)
43: I've Got A Feeling 2.31 (1:23)
44: Unknown 2.32 (3:46)
45: Speak To Me 2.33 (1:58)
46: I've Got A Feeling 2.34 (0:32)
47: I've Got A Feeling 2.35 (5:00)
48: I've Got A Feeling 2.36 (0:11)
49: Mighty Quinn (Quinn The Eskimo) 2.37 (1:05)
50: I've Got A Feeling 2.38 (4:03)
51: I've Got A Feeling 2.39 (2:00)
52: I've Got A Feeling 2.40 (1:22)
53: Dialogue (0:45)

Disc 2: (1:19:37)
01: Dialogue And Slates (1:42)
02: Dialogue And Slates (0:06)
03: Dialogue And Slates (0:05)
04: Dialogue And Slates (3:20)
05: Dialogue And Slates (0:07)
06: Dialogue And Slates (1:52)
07: Dialogue And Slates (1:12)
08: I've Got A Feeling 2.41 (1:29)
09: Tuning (0:30)
10: Slate (0:06)
11: I've Got A Feeling 2.42 (0:38)
12: I've Got A Feeling x.xx (0:27)
13: I've Got A Feeling 2.43 (0:09)
14: I've Got A Feeling 2.44 (1:24)
15: I've Got A Feeling 2.45 (2:17)
16: I've Got A Feeling 2.46 (5:36)
17: I've Got A Feeling 2.47 (0:37)
18: I've Got A Feeling 2.48 (4:00)
19: Sun King - Don't Let Me Down 2.49 (2:07)
20: Don't Let Me Down 2.50 (3:54)
21: Don't Let Me Down 2.51 (2:14)
22: Sun King - Don't Let Me Down 2.52 (1:55)
23: Don't Let Me Down 2.53 (6:44)
24: Don't Let Me Down 2.54 (0:31)
25: Improvisation 2.55 (1:24)
26: Unknown 2.56 (0:19)
27: Don't Let Me Down 2.57 (3:10)
28: Don't Let Me Down 2.58 (0:05)
29: Well, All Right 2.59 (1:12)
30: Well, All Right 2.60 (1:07)
31: Unknown 2.61 (0:25)
32: All Things Must Pass 2.62 (1:24)
33: Two Of Us 2.63 (7:21)
34: We're Goin' Home 2.64 (0:22)
35: Two Of Us 2.65 (4:17)
36: Two Of Us 2.66 (0:39)
37: Two Of Us 2.67 (3:36)
38: Two Of Us 2.68 (0:33)
39: Two Of Us 2.69 (0:05)
40: Two Of Us 2.70 (0:54)
41: Two Of Us 2.71 (4:35)
42: It's Good To See The Folks Back Home 2.72 (0:22)
43: Two Of Us 2.73 (4:45)


The darkest period of The Beatles' recording career was the Get Back enterprise - the group's attempt to return to their roots, which saw them initially rehearse and record songs for a television special and live performance.
Motivation was low within the group. Paul McCartney aside, there was little enthusiasm for a mooted live appearance. The group were still exhausted after the lengthy sessions for the White Album, and the presence of film cameras during the rehearsals created a further strain.
Although not all the January 1969 sessions were tense, The Beatles were often at odds with one another. George Harrison found McCartney bossy and domineering, John Lennon was addicted to heroin and unwilling to be parted from Yoko Ono, and Ringo Starr was largely subdued throughout the month.
In a nutshell, Paul wanted to make - it was time for another Beatle movie or something, and Paul wanted us to go on the road or do something. As usual, George and I were going, 'Oh, we don't want to do it, fuck,' and all that. He set it up and there was all discussions about where to go and all that. I would just tag along and I had Yoko by then. I didn't even give a shit about anything. I was stoned all the time, too, on H etc. And I just didn't give a shit. And nobody did, you know...
Paul had this idea that we were going to rehearse or... see it all was more like Simon and Garfunkel, like looking for perfection all the time. And so he has these ideas that we'll rehearse and then make the album. And of course we're lazy fuckers and we've been playing for twenty years, for fuck's sake, we're grown men, we're not going to sit around rehearsing. I'm not, anyway. And we couldn't get into it. And we put down a few tracks and nobody was in it at all. It was a dreadful, dreadful feeling in Twickenham Studio, and being filmed all the time. I just wanted them to go away, and we'd be there, eight in the morning. You couldn't make music at eight in the morning or ten or whatever it was, in a strange place with people filming you and colored lights.
John Lennon, 1970
Lennon Remembers, Jann S Wenner
George Harrison walked out of the group on 10 January 1969, and the plans for the television special were abandoned. He agreed to rejoin The Beatles only if they moved from Twickenham Film Studios to their new recording studio in the basement of their Apple HQ in London's Savile Row. This they did from 21 January, in the process dropping plans for a live concert.
Because the audio needed to be good enough for potential use in a film or television programme, it was recorded on Nagra reel-to-reel ¼" mono tape machines. Two of these were used, one for camera A and one for camera B. They could capture only 16 minutes on a tape, and so the two machines were started at different intervals.
As a result, the Get Back sessions were extensively bootlegged, providing a fascinating insight into The Beatles' working practices. A vast number of songs were performed by The Beatles during January 1969, much of which never saw light of day, though works from Abbey Road and their solo albums did emerge, in addition to the Let It Be songs.
They also jammed a great deal; sometimes at length and without much artistic merit. The better attempts were included in the Let It Be film. The Beatles, whether out of boredom or desperation, played tunes ranging from nursery rhymes (Baa Baa Black Sheep) and rock 'n' roll classics (All Shook Up) to pre-Love Me Do original compositions and improvised songs (the unreleased Suzy's Parlour).
The Get Back sessions followed a Monday to Friday schedule, and each day started between 11am and 1pm. On this first day the group arrived at Twickenham at 11am, apart from Paul McCartney who was delayed on public transport, and arrived at 12.30pm.
This first day officially began at around 9.30am, however, with director Michael Lindsay-Hogg filming as Mal Evans and Kevin Harrington set up The Beatles' equipment onto stage one before the group began playing. The shots would eventually be used for the opening sequence of the Let It Be film.
The Beatles spent much of their time working on three songs: Don't Let Me DownI've Got A Feeling and Two Of Us.
Lennon and Harrison were the first to arrive, the former with his then-girlfriend Yoko Ono. As they tuned their guitars, the musicians played snippets of Don't Let Me Down and All Things Must Pass. Both attempted to play along with each others' songs, and were joined by a recently-arrived Ringo Starr on drums during a version of Don't Let Me Down.
Lennon then played a solo version of Dig A Pony, before improvising a song known as Everybody Got Song. Harrison put forward another, Let It Down, which was eventually recorded for the All Things Must Pass triple album.
Lennon improvised a guitar instrumental and sang two verses of Chuck Berry's Brown-Eyed Handsome Man, joined by Harrison in places. They then turned to I've Got A Feeling, which at this stage lacked McCartney's contributions. Lennon's part was based on a 1968 home recording known as Everybody Had A Hard Year. He also played through an unfinished song titled A Case Of The Blues, which was mostly instrumental.
Lennon's Child Of Nature - later rewritten as Jealous Guy - was introduced on this day as On The Road To Marrakesh. He sang two verses, with Harrison joining in several places. Its presence here served to highlight the dry spell Lennon was undergoing as a songwriter; the song had been written in India more than six months previously.
Snippets of Revolution and Bob Dylan's I Shall Be Released followed, and a new unfinished Lennon song, Sun King. During the performance, which contains elements of Don't Let Me Down, McCartney arrived at Twickenham and began playing along.
During the day two Bob Dylan songs and two by Buddy Holly were attempted by the group, along with Chuck Berry's Brown-Eyed Handsome Man. Holly's Mailman, Give Me No More Blues wasn't the take eventually issued on Anthology 3; that was recorded on 29 January.
With all four Beatles finally in the same room, they discussed the purposes of the Get Back project. Lennon expressed dissatisfaction with the large size of the sound stage, and with having cameras present during these early rehearsals, but McCartney defended the set-up. Their words appear to indicate that that the intention at this time was to film a television special inside Twickenham with an invited audience.
McCartney took the vocal lead on several versions of I've Got A Feeling, teaching the others the song's structure as he went. The Beatles spent some time working on the arrangement.
In the afternoon Harrison led Starr through a cover version of Jackie Lomax's Speak To Me, before work continued on I've Got A Feeling - at this stage The Beatles' most complete song. Numerous run-throughs took place as the group continued shaping it, breaking off for discussions in between.
The Beatles then turned their attentions back to Don't Let Me Down, and discussed possible instrumentation. At this stage they were considering bringing in a keyboard player, with Nicky Hopkins' name mentioned.
During a break for sandwiches Harrison played the Buddy Holly song Well... Alright, followed by another version of All Things Must Pass.
Instead of working on Harrison's song, The Beatles moved on to McCartney's Two Of Us. A lengthy rehearsal took place, with McCartney teaching the rest of the group the chord and time signature changes. Evidently The Beatles weren't familiar with it yet, although they would play it a great many more times during the month.


In a break from Two Of Us, The Beatles improvised a song known as It's Good To See The Folks Back Home, led by McCartney. They returned to Two Of Us before the day's work came to a close.

Get Back/Let It Be sessions: day 2

January 3, 1969 


Disc 1: (1:18:00)
01: The Long And Winding Road 3.01 (0:31)
02: Oh! Darling 3.02 (0:55)
03: Oh! Darling 3.03 (0:06)
04: Unknown 3.04 (0:06)
05: Maxwell's Silver Hammer 3.05 (3:08)
06: Adagio For Strings 3.06 (3:20)
07: Adagio For Strings 3.07 (0:47)
08: Tea For Two Cha Cha 3.08 (1:23)
09: Tea For Two Cha Cha 3.09 (0:43)
10: Chopsticks 3.10 (0:29)
11: Unknown 3.11 (0:40)
12: Torchy, The Battery Boy 3.12 (1:13)
13: Whole Lotta Shakin' Goin' On 3.13 (0:48)
14: Unknown 3.14 (0:35)
15: Let It Be 3.15 (1:09)
16: Unknown 3.16 (2:30)
17: Taking A Trip To Carolina 3.17 (0:44)
18: Unknown 3.18 (1:22)
19: Dialogue (2:09)
20: Please, Mrs Henry 3.19 (1:35)
21: Ramblin' Woman 3.20 (1:43)
22: Is It Discovered 3.21 (1:33)
23: Improvisation 3.22 (2:20)
24: Picasso 3.23 (1:22)
25: Taking A Trip To Carolina 3.24 (1:12)
26: Hey Jude 3.25 (2:08)
27: All Things Must Pass 3.26 (1:43)
28: Don't Let Me Down 3.27 (2:35)
29: Your Name Is Ted 3.28 (3:00)
30: Crackin' Up 3.29 (2:11)
31: Improvisation 3.30 (2:53)
32: Crackin' Up 3.31 (0:32)
33: All Shook Up 3.32 (1:05)
34: Your True Love 3.33 (1:44)
35: Blue Suede Shoes 3.34 (1:32)
36: Three Cool Cats 3.35 (2:47)
37: Blowin' In The Wind 3.36 (0:33)
38: Lucille 3.37 (2:28)
39: I'm So Tired 3.38 (2:32)
40: Ob-la-di, Ob-la-da 3.39 (1:46)
41: Get On The Phone 3.40 (0:57)
42: Ob-la-di, Ob-la-da 3.41 (0:14)
43: Don't Let Me Down 3.42 (0:33)
44: The Third Man Theme 3.43 (1:51)
45: Improvisation 3.44 (0:30)
46: My Words Are My Heart 3.45 (0:10)
47: Negro In Reserve 3.46 (0:43)
48: Don't Let Me Down 3.47 (3:39)
49: Don't Let Me Down 3.48 (0:10)
50: Don't Let Me Down 3.49 (3:16)
51: Don't Let Me Down 3.50 (0:05)
52: Ob-la-di, Ob-la-da 3.51 (0:16)
53: Don't Let Me Down 3.52 (0:08)
54: Don't Let Me Down 3.53 (0:34)
55: Don't Let Me Down 3.54 (2:44)
56: Sun King 3.55 (0:18)

Disc 2: (1:19:36)
01: I've Got A Feeling 3.56 (4:38)
02: I've Got A Feeling 3.57 (4:49)
03: I've Got A Feeling 3.58 (0:25)
04: I've Got A Feeling 3.59 (3:29)
05: I've Got A Feeling 3.60A (2:48)
06: I've Got A Feeling 3.60B (2:33)
07: Unknown 3.61 (0:29)
08: Going Up The Country 3.62 (0:51)
09: On The Road Again 3.63 (0:17)
10: One After 909 3.64 (4:21)
11: Because I Know You Love Me So 3.65 (2:29)
12: Roll Announcement (0:04)
13: One After 909 3.66 (4:06)
14: I'll Wait Until Tomorrow 3.67 (1:05)
15: A Pretty Girl Is Like A Melody 3.68 (0:11)
16: Thinking Of Linking 3.69 (0:25)
17: Won't You Please Say Goodbye 3.70 (0:52)
18: Bring It Home To Me 3.71 (2:01)
19: Hitch Hike 3.72 (1:57)
20: You Can't Do That 3.73 (2:15)
21: The Hippy Hippy Shake 3.74 (4:16)
22: Two Of Us 3.75 (2:20)
23: Two Of Us 3.76 (1:46)
24: Two Of Us 3.77 (2:37)
25: Two Of Us 3.78 (3:33)
26: Two Of Us 3.79 (3:28)
27: Two Of Us 3.80 (2:37)
28: All Along The Watchtower 3.81 (1:01)
29: Dialogue (1:39)
30: Sun King 3.82 (0:47)
31: Improvisation 3.83 (0:25)
32: Improvisation 3.84 (0:34)
33: Short Fat Fanny 3.85 (2:58)
34: Midnight Special 3.86 (2:09)
35: When You're Drunk You Think Of Me 3.87 (0:12)
36: What's The Use Of Getting Sober 3.88 (0:09)
37: What You Wanna Make Eyes At Me For 3.89 (1:34)
38: Money (That's What I Want) 3.90 (1:34)
39: Give Me Some Truth 3.91 (1:39)
40: All Things Must Pass 3.92 (1:57)
41: All Things Must Pass 3.93 (2:16)

Disc 3: (1:18:25)
01: All Things Must Pass 3.94 (3:13)
02: All Things Must Pass 3.95 (3:41)
03: The Weight 3.96 (0:25)
04: I'm A Tiger 3.97 (0:21)
05: All Things Must Pass 3.98 (3:19)
06: Improvisation 3.99 (0:31)
07: All Things Must Pass 3.100 (1:59)
08: All Things Must Pass 3.101 (6:36)
09: All Things Must Pass 3.102 (0:05)
10: All Things Must Pass 3.103 (3:26)
11: All Things Must Pass 3.104 (3:13)
12: All Things Must Pass 3.105 (4:16)
13: All Things Must Pass 3.106 (3:48)
14: All Things Must Pass 3.107 (1:21)
15: Slate Announcement (0:07)
16: All Things Must Pass 3.108 (5:28)
17: All Things Must Pass 3.109 (5:36)
18: All Things Must Pass 3.110 (4:24)
19: All Things Must Pass 3.111 (2:36)
20: All Things Must Pass 3.112 (2:32)
21: All Things Must Pass 3.113 (6:21)
22: All Things Must Pass 3.114 (2:22)
23: All Things Must Pass 3.115 (0:33)
24: Improvisation 3.116 (1:04)
25: All Things Must Pass 3.117 (1:59)
26: All Things Must Pass 3.118 (0:40)
27: All Things Must Pass 3.119 (1:52)
28: All Things Must Pass 3.120 (1:12)
29: Slate Announcement (0:04)
30: All Things Must Pass 3.121 (0:37)
31: All Things Must Pass 3.122 (1:12)
32: All Things Must Pass 3.123 (3:32)
Disc 4: (1:16:32)
01: All Things Must Pass 3.124 (1:42)
02: Unknown 3.125 (0:07)
03: Back In The USSR 3.126 (0:54)
04: Every Little Thing 3.127 (0:37)
05: Piece Of My Heart 3.128 (2:11)
06: Sabre Dance 3.129 (1:29)
07: Piece Of My Heart 3.130 (1:28)
08: Over Nad Over Again 3.131 (2:52)
09: One After 909 3.132 (0:25)
10: Slate Announcement (0:08)
11: Dialogue (4:33)
12: I've Been Good To You 3.133 (1:59)
13: All Things Must Pass 3.134 (0:23)
14: All Things Must Pass 3.135 (0:50)
15: All Things Must Pass 3.136 (3:44)
16: All Things Must Pass 3.137 (3:54)
17: All Things Must Pass 3.138 (5:30)
18: All Things Must Pass 3.139 (0:19)
19: All Things Must Pass 3.140 (2:09)
20: Maxwell's Silver Hammer 3.141 (0:51)
21: Maxwell's Silver Hammer 3.142 (15:07)
22: Maxwell's Silver Hammer 3.143 (1:04)
23: Maxwell's Silver Hammer 3.144 (7:59)
24: Maxwell's Silver Hammer 3.145 (1:05)
25: Maxwell's Silver Hammer 3.146 (1:42)
26: Maxwell's Silver Hammer 3.147 (2:46)
27: Maxwell's Silver Hammer 3.148 (1:16)
28: Maxwell's Silver Hammer 3.149 (0:25)
29: Maxwell's Silver Hammer 3.150 (9:03)


The second day of rehearsals for the Get Back/Let It Be sessions saw them play a number of songs, many of which were rough versions of rock 'n' roll oldies, improvisations and numbers from the Lennon-McCartney back catalogue.

John Lennon was late arriving at Twickenham Film Studios, and the first part of the day featured just Paul McCartney on piano. He worked through a number of works-in-progress, including several songs which ended up on Let It Be and Abbey Road.
Ringo Starr played brief versions of songs he had written titled Taking A Trip To Carolina and Picasso; the former was included on the Fly On The Wall disc that came with early copies of Let It Be... NakedGeorge Harrison, meanwhile, played a number of half-written songs including the Dylanesque Ramblin' Woman.
After Lennon's arrival, much of the day was spent playing rock 'n' roll classics, including several from The Beatles' Cavern Club and Hamburg years. They also played a version of I'm So Tired with McCartney on lead vocals, and a swift rendition of Ob-La-Di, Ob-La-Da.
The Beatles became more disciplined when working on Don't Let Me Down, which was by this time close to its final arrangement. During the day's first attempt, however, Lennon inserted a segment from Happiness Is A Warm Gun.
I've Got A Feeling and Two Of Us were other Let It Be songs which were worked on during this day, and the group resurrected One After 909 for the first time since 1963. They also played several other early Lennon-McCartney compositions, including Won't You Please Say Goodbye, Thinking Of Linking, I'll Wait Till Tomorrow and Because I Know You Love Me So.
George Harrison led the group through Marvin Gaye's Hitch Hike and Larry Williams' Short Fat Fannie, and Lennon and McCartney sang a version of Midnight Special. Lennon also played two original songs, Sun King and Gimme Some Truth, both of which would receive further work during January 1969.
The Beatles played a total of 37 versions of All Things Must Pass on this day, although they struggled to find a satisfactory arrangement. It was worked on again in January and February, but remained unreleased until Harrison re-recorded it for 1970's triple album of the same name.


The day ended with a number of attempts at Maxwell's Silver Hammer. A sequence of McCartney calling out the chords while teaching the song to the others was included in the Let It Be film. The Beatles spent considerable time working on the song during these sessions, although it was later remade for Abbey Road.

Get Back/Let It Be sessions: day 3

January 6, 1969 


 Disc 1: (1:14:20)
01: Roll Announcement (1:35)
02: Dialogue (2:51)
03: Oh! Darling 6.01 (1:38)
04: Dialogue (13:38)
05: C'mon Marianne 6.02 (1:57)
06: Roll Announcement (0:35)
07: Dialogue (0:48)
08: I've Got A Feeling 6.03 (1:44)
09: I've Got A Feeling 6.04 (1:06)
10: High School Confidential 6.05 (0:28)
11: I've Got A Feeling 6.06 (0:50)
12: Hear Me Lord 6.07 (0:48)
13: Hear Me Lord 6.08 (2:26)
14: For You Blue 6.09 (3:44)
15: For You Blue 6.10 (3:10)
16: All Things Must Pass 6.11 (0:31)
17: Carry That Weight 6.12 (1:31)
18: Octopus's Garden - Carry That Weight 6.13 (0:42)
19: Carry That Weight 6.14 (2:21)
20: The Place Of The King Of The Birds 6.15 (14:00)
21: Improvisation 6.16 (0:06)
22: Improvisation 6.17 (9:01)
23: Across The Universe 6.18 (3:07)
24: I Want You 6.19 (3:15)
25: Unknown 6.20 (1:54)
26: Unknown 6.21 (0:34)

Disc 2: (1:12:09)
01: Unknown 6.22 (1:40)
02: You Wear Your Women Out 6.23 (6:42)
03: I've Got A Feeling 6.24 (6:02)
04: My Imagination 6.25 (3:21)
05: My Imagination 6.26 (4:13)
06: Improvisation 6.27 (5:55)
07: I'm Gonna Pay For His Ride 6.28 (4:40)
08: Don't Let Me Down 6.29 (0:51)
09: Don't Let Me Down 6.30 (2:23)
10: One After 909 6.31 (2:58)
11: One After 909 6.32 (2:05)
12: They Call Me Fuzz Face 6.33 (1:18)
13: One After 909 6.34 (1:42)
14: Improvisation 6.35 (1:38)
15: That's All Right 6.36 (0:52)
16: Thirty Days 6.37 (0:24)
17: Improvisation 6.38 (2:41)
18: Hear Me Lord 6.39 (4:35)
19: Hear Me Lord 6.40 (3:20)
20: Hear Me Lord 6.41 (7:12)
21: Improvisation 6.42 (0:25)
22: Hear Me Lord 6.43 (0:41)
23: Improvisation 6.44 (0:04)
24: Improvisation 6.45 (0:22)
25: Leaning On A Lamp-post 6.46 (1:37)
26: Annie 6.47 (0:28)
27: Maureen 6.48 (2:18)
28: I'm Talking About You 6.49 (1:23)
29: Dialogue (0:19)

Disc 3: (1:15:53)
01: Dialogue (14:24)
02: Improvisation 6.50 (5:36)
03: Improvisation 6.51 (0:38)
04: The Tracks Of My Tears 6.52 (2:26)
05: Improvisation 6.53 (0:24)
06: Improvisation 6.54 (0:09)
07: Improvisation 6.55 (0:05)
08: Improvisation 6.56 (0:16)
09: Dizzy Miss Lizzie 6.57 (3:00)
10: Money 6.58 (2:44)
11: Fools Like Me 6.59 (3:42)
12: Sure To Fall 6.60 (2:45)
13: Right String, Wrong Yo-Yo 6.61 (3:32)
14: Don't Let Me Down 6.62 (15:52)
15: Don't Let Me Down 6.63 (0:22)
16: Don't Let Me Down 6.64 (0:27)
17: Don't Let Me Down 6.65 (4:05)
18: Don't Let Me Down 6.66 (4:25)
19: Don't Let Me Down 6.67 (3:40)
20: Don't Let Me Down 6.68 (4:44)
21: Don't Let Me Down 6.69 (1:34)
22: Don't Let Me Down 6.70 (1:03)

Disc 4: (1:07:20)
01: Don't Let Me Down 6.71 (0:04)
02: Slate Announcement (0:12)
03: Don't Let Me Down 6.72 (9:57)
04: Don't Let Me Down 6.73 (5:07)
05: Don't Let Me Down 6.74 (0:55)
06: Don't Let Me Down 6.75 (4:28)
07: Don't Let Me Down 6.76 (0:21)
08: Don't Let Me Down 6.77 (0:04)
09: Don't Let Me Down 6.78 (0:34)
10: Don't Let Me Down 6.79 (0:09)
11: Don't Let Me Down 6.80 (0:33)
12: Don't Let Me Down 6.81 (7:11)
13: Don't Let Me Down 6.82 (3:01)
14: Send Me Some Loving 6.83a (0:41)
15: Don't Let Me Down 6.83b (0:39)
16: Don't Let Me Down 6.84 (0:07)
17: Don't Let Me Down 6.85 (3:39)
18: Don't Let Me Down 6.86 (1:06)
19: Don't Let Me Down 6.87 (4:50)
20: Two Of Us 6.88 (0:47)
21: Two Of Us 6.89 (0:38)
22: Two Of Us 6.90 (2:34)
23: Two Of Us 6.91 (1:46)
24: Two Of Us 6.92 (0:20)
25: Roll Announcement (0:07)
26: Two Of Us 6.93 (2:33)
27: Two Of Us 6.94 (4:09)
28: Two Of Us 6.95 (1:16)
29: Two Of Us 6.96 (1:11)
30: Two Of Us 6.97 (8:21)

Disc 5: (1:14:21)
01: Roll Announcement (0:07)
02: Two Of Us 6.98 (2:09)
03: Two Of Us 6.99 (1:25)
04: Two Of Us 6.100 (3:10)
05: Frere Jacques 6.101 (0:41)
06: It Ain't Me Babe 6.102 (0:37)
07: Two Of Us 6.103 (5:06)
08: Two Of Us 6.104 (2:55)
09: Two Of Us 6.105 (1:12)
10: Two Of Us 6.106 (1:34)
11: Two Of Us 6.107 (2:47)
12: Two Of Us 6.108 (1:29)
13: When The Saints Go Marching In 6.109 (0:06)
14: Loop De Loop 6.110 (0:26)
15: Two Of Us 6.111 (2:52)
16: Hear Me Lord 6.112 (0:09)
17: Across The Universe 6.113 (3:53)
18: Hear Me Lord 6.114 (2:39)
19: All Things Must Pass 6.115 (0:18)
20: Roll Announcement (0:08)
21: All Things Must Pass 6.116 (6:04)
22: All Things Must Pass 6.117 (3:34)
23: Let's Dance 6.118 (0:59)
24: All Things Must Pass 6.119 (3:40)
25: All Things Must Pass 6.120 (1:43)
26: All Things Must Pass 6.121 (0:24)
27: All Things Must Pass 6.122 (0:44)
28: All Things Must Pass 6.123 (4:08)
29: She Came In Through The Bathroom Window 6.124 (4:06)
30: She Came In Through The Bathroom Window 6.125 (3:10)
31: She Came In Through The Bathroom Window 6.126 (2:08)
32: She Came In Through The Bathroom Window 6.127 (2:47)
33: She Came In Through The Bathroom Window 6.128 (0:04)
34: She Came In Through The Bathroom Window 6.129 (0:06)
35: She Came In Through The Bathroom Window 6.130 (2:59)
36: Carry That Weight 6.131 (1:26)
37: Dialogue (2:36)


Following a weekend break, The Beatles' sessions and rehearsals for the Get Back/Let It Be project resumed on 6 January 1969.
This was the third day for the project, and was made up of various jams, cover versions, improvisations, and attempts at recording the more complete songs. There was also a great deal of conversation and bickering between the group members.
The songs which received the most attention were Don't Let Me Down and Two Of Us. Various arrangements of the former were tested, including a Latin-style rhythm and some harmony vocals by Paul McCartney in the middle section.
Two Of Us was, at this stage, more of a straightforward rock song than in its final incarnation. During rehearsals for it, a terse exchange took place between McCartney and George Harrison which was included in the Let It Be film, and which seemed to encapsulate the strained relations within the group at the time.

"I'll play whatever you want me to play, or I won't play at all if you don't want me to play. Whatever it is that'll please you, I'll do it."

George Harrison

The Beatles evidently lacked enthusiasm for a new Harrison song, Hear Me Lord, which its composer first performed acoustically, then on an electric guitar with a wah-wah pedal. He also attempted to enthuse the group in his All Things Must Pass, but to little effect.
Carry That Weight, later to feature on Abbey Road, made its debut on this day, and featured a bridge which was omitted in the final version. Also making first appearances were Octopus's Garden and For You Blue, both of which were brief, incomplete performances.
John Lennon, doubtless aware that his songwriting rate had slowed dramatically since the completion of the White Album, revived Across The Universe - a song the group had recorded early in 1968 but which remained unreleased.
One After 909 had first been revived on 3 January, and made a reappearance on this day.
Notable among the improvisations and jams were The Palace Of The King Of The Birds, a McCartney instrumental recorded years later for the unreleased Rupert The Bear album. It featured blues-style guitar and a flowing organ part. He also sang a blues improvisation, You Wear Your Women Out, and did a bit of Primal Therapy-style screaming on My Imagination.
George Harrison sang a song known as Maureen, accompanied just with wah-wah guitar. He is heard to claim that Bob Dylan wrote the song, but it is otherwise unknown and may in fact have been an original composition. Harrison also suggests that it might be a suitable single for Ringo Starr.

The day ended with some lengthy rehearsals of McCartney's new song She Came In Through The Bathroom Window.

Get Back/Let It Be sessions: day 4

January 7, 1969 

 


Disc 1: (1:17:37)
01: Roll Announcement (0:11)
02: The Long And Winding Road 7.01 (4:55)
03: Golden Slumbers - Carry That Weight 7.02 (4:02)
04: The Long And Winding Road 7.03 (1:39)
05: The Palace Of The King Of The Birds 7.04 (1:22)
06: The Palace Of The King Of The Birds 7.05 (0:19)
07: Lady Madonna 7.06 (2:30)
08: Instrumental 7.07 (0:46)
09: She Came In Through The Bathroom Window 7.08 (0:31)
10: Unknown 7.09 (1:18)
11: Instrumental 7.10 (1:26)
12: Instrumental 7.11 (4:50)
13: Instrumental 7.12 (1:29)
14: Mister Epstein Said It Was White Gold 7.13 (1:33)
15: Lowdown Blues Machine 7.14 (1:58)
16: Wha'd I Say - Carry That Weight - Shout! 7.15 (1:22)
17: Get Back 7.16 (1:57)
18: Get Back 7.17 (0:09)
19: Dialogue (0:41)
20: Get Back 7.18 (5:59)
21: Get Back 7.19 (9:15)
22: Dialugue (6:08)
23: My Back Pages 7.20 (10:01)
24: Dialogue (2:57)
25: I've Got A Feeling 7.21 (1:48)
26: She Came In Through The Bathroom Window 7.22 (1:15)
27: Stuck Inside Of Mobile With The Memphis Blues Again 7.23 (1:40)
28: Improvisation 7.24 (1:18)
29: I Shall Be Released 7.25 (3:34)
30: To Kingdom Come 7.26 (0:44)

Disc 2: (1:17:58)
01: Dialogue (1:22)
02: For You Blue 7.27 (1:14)
03: For You Blue 7.27 continued (0:04)
04: For You Blue 7.28 (1:11)
05: Improvisation 7.29 (3:17)
06: Bo Diddley 7.30 (6:40)
07: What The World Needs Now Is Love 7.31 (0:54)
08: Instrumental 7.32 (1:28)
09: First Call 7.33 (1:09)
10: She Came In Through The Bathroom Window 7.34 (0:28)
11: I've Got A Feeling 7.35 (1:07)
12: I've Got A Feeling 7.36 (2:04)
13: I've Got A Feeling 7.37 (3:12)
14: I've Got A Feeling 7.38 (0:42)
15: I've Got A Feeling 7.39 (1:34)
16: I've Got A Feeling 7.40 (2:42)
17: I've Got A Feeling 7.41 (1:46)
18: I've Got A Feeling 7.42 (0:47)
19: I've Got A Feeling 7.43 (1:30)
20: I've Got A Feeling 7.44 (2:02)
21: I've Got A Feeling 7.45 (0:33)
22: I've Got A Feeling 7.46 (1:18)
23: I've Got A Feeling 7.47 (2:29)
24: Improvisation 7.48 (0:40)
25: Maxwell's Silver Hammer 7.49 (0:50)
26: Woman Where You Been So Long 7.50 (2:26)
27: Oh Julie, Julia 7.51 (3:41)
28: Oh! Darling 7.52 (2:47)
29: The Long And Winding Road 7.53 (1:13)
30: Maxwell's Silver Hammer 7.54 (1:30)
31: Maxwell's Silver Hammer 7.55 (1:13)
32: Maxwell's Silver Hammer 7.56 (16:12)
33: Maxwell's Silver Hammer 7.57 (3:17)
34: Maxwell's Silver Hammer 7.58 (2:10)
35: Maxwell's Silver Hammer 7.59 (0:46)
36: Rule, Britannia 7.60 (0:20)
37: Improvisation 7.61 (0:34)
38: Improvisation 7.62 (0:46)

Disc 3: (1:16:08)
01: Norwegian Wood (1:20)
02: Maxwell's Silver Hammer 7.64 (2:34)
03: Maxwell's Silver Hammer 7.65 (0:58)
04: Speak To Me 7.66 (2:07)
05: When I'm Sixty-Four 7.67 (0:32)
06: When I'm Sixty-Four - Speak To Me 7.68 (1:10)
07: Speak To Me 7.69 (2:19)
08: Oh! Darling 7.70 (5:11)
09: Maxwell's Silver Hammer 7.71 (3:33)
10: Maxwell's Silver Hammer 7.72 (3:25)
11: Maxwell's Silver Hammer 7.73 (2:41)
12: Maxwell's Silver Hammer 7.74 (14:21)
13: Maxwell's Silver Hammer 7.75 (3:01)
14: Maxwell's Silver Hammer 7.76 (4:29)
15: Maxwell's Silver Hammer 7.77 (2:10)
16: Maxwell's Silver Hammer 7.78 (2:20)
17: Maxwell's Silver Hammer 7.79 (4:13)
18: Improvisation 7.80 (0:32)
19: A Shot Of Rhythm And Blues 7.81 (2:01)
20: (You're So Square) Baby I Don't Care 7.82 (0:46)
21: Across The Universe 7.83 (0:33)
22: Across The Universe 7.84 (3:21)
23: Across The Universe 7.85 (1:33)
24: Give Me Some Truth 7.86 (0:11)
25: Improvisation 7.87 (2:05)
26: Across The Universe 7.88 (4:52)
27: Across The Universe 7.89 (3:50)

Disc 4: (1:18:45)
01: Dialogue (2:05)
02: Across The Universe 7.90 (1:08)
03: Improvisation 7.91 (0:41)
04: Across The Universe 7.92 (4:03)
05: A Case Of The Blues 7.93 (0:38)
06: Cuddle Up 7.94 (0:04)
07: Give Me Some Truth 7.95 (0:11)
08: Across The Universe 7.96 (0:08)
09: Give Me Some Truth 7.97 (0:56)
10: From Me To You 7.98 (0:52)
11: Across The Universe 7.99 (5:33)
12: Across The Universe 7.100 (0:49)
13: Rock And Roll Music 7.101 (2:07)
14: Lucille 7.102 (1:23)
15: Lotta Lovin' 7.103 (0:06)
16: Across The Universe 7.104 (3:35)
17: Gone, Gone, Gone 7.105 (2:10)
18: Dig A Pony 7.106 (1:24)
19: One After 909 7.107 (0:53)
20: One After 909 7.108 (0:04)
21: One After 909 7.109 (1:23)
22: One After 909 7.110 (1:17)
23: One After 909 7.111 (0:39)
24: What'd I Say 7.112 (0:23)
25: One After 909 7.113 (2:51)
26: Improvisation 7.114 (2:25)
27: Don't Let Me Down 7.115 (0:20)
28: Don't Let Me Down 7.116 (3:49)
29: Don't Let Me Down 7.117 (0:38)
30: Don't Let Me Down 7.118 (1:19)
31: Don't Let Me Down 7.119 (1:11)
32: Don't Let Me Down 7.120 (0:04)
33: Don't Let Me Down 7.121 (0:48)
34: Don't Let Me Down 7.122 (4:20)
35: Devil In Her Heart 7.123 (0:37)
36: Devil In Her Heart 7.124 (0:52)
37: Don't Let Me Down 7.125 (3:54)
38: Don't Let Me Down 7.126 (0:13)
39: Thirty Days 7.127 (1:07)
40: Revolution 7.128 (0:39)
41: A Case Of The Blues 7.129 (0:15)
42: Be Bop A Lula 7.130 (1:52)
43: Lotta Lovin' - Somethin' Else 7.131 (1:11)
44: Improvisation 7.132 (0:21)
45: Improvisation 7.133 (4:48)
46: Improvisation 7.134 (1:39)
47: Across The Universe 7.135 (3:29)
48: School Day 7.136 (0:43)
49: F.B.I. 7.137 (0:33)
50: She Came In Through The Bathroom Window 7.138 (3:16)
51: She Came In Through The Bathroom Window 7.139 (2:59)


The fourth day of the Get Back/Let It Be sessions was a somewhat typical blend of original song rehearsals, unstructured jamming and randomly-chosen cover versions.
The day saw the first appearance of Get Back, which would soon become the focus of much of The Beatles' attentions. At this stage, however, it was lacking most of its final lyrics in the verses.
Although it was later held over for the Abbey Road album, Maxwell's Silver Hammer also made an appearance on this day. It had first been put forward on 3 January, and again on 10 January, but The Beatles' lack of enthusiasm towards it was clear.
They also performed early versions of Golden Slumbers and She Came In Through The Bathroom Window, and Lennon led the group through three versions of Gimme Some Truth, a song which he'd later record for 1971's Imagine album.
In the previous day's session, John Lennon had once again attempted to interest the group in Across The Universe, which they had recorded in February 1968. Nearly a year on, and Lennon struggled to remember the words, and the performance lacked the elegantly light touch that the earlier recording had.
Much of 7 January was spent on I've Got A Feeling and Don't Let Me Down, which had been earmarked early on during the Twickenham sessions as contenders for the mooted live performance. At this stage the songs weren't developing significantly, but were instead being rehearsed multiple times until The Beatles were happy they were familiar with the structure.
Other notable performances included a spirited rendition of Chuck Berry's Rock And Roll Music, first recorded by The Beatles in 1964, and an almost-complete version of Carl Perkins' Gone, Gone, Gone. Little Richard's Lucille and Ray Charles' What'd I Say were also tackled with conviction, but were both abandoned before being seen through to completion.

More successful was a revisit of the Lennon-McCartney composition One After 909. This latter song had been recorded at EMI way back on 5 March 1963, and had been performed again on the 3 and 6 January 1969 sessions, with The Beatles evidently thinking it a possible live contender. Here it was close to its final Let It Be incarnation, although without Billy Preston's electric piano.

Get Back/Let It Be sessions: day 5

January 8, 1969


 Disc 1: (1:17:54)
01: I Me Mine 8.01 (1:33)
02: I Me Mine 8.02 (2:46)
03: I Me Mine 8.03 (0:20)
04: Dialogue (4:05)
05: Dialogue (0:11)
06: I Me Mine 8.04 (3:18)
07: Dialogue (0:46)
08: I've Got A Feeling 8.05 (2:56)
09: Get Your Rocks Off 8.06 (6:43)
10: Improvisation 8.07 (1:44)
11: Improvisation - Honey 8.08 (4:04)
12: Honey, Hush 8.09 (0:18)
13: Stand By Me 8.10 (2:33)
14: Hare Krishna Mantra 8.11 (1:09)
15: Well, If You're Ready 8.12 (0:24)
16: Hare Krishna Mantra 8.13 (0:41)
17: Two Of Us 8.14 (3:31)
18: You Got Me Going 8.15 (0:23)
19: Twist And Shout 8.16 (0:18)
20: Don't Let Me Down 8.17 (3:11)
21: I've Got A Feeling 8.18 (3:45)
22: Roll Announcement (0:15)
23: St. Louis Blues 8.19 (1:09)
24: One After 909 8.20 (3:35)
25: Too Bad About Sorrows 8.21 (0:49)
26: Just Fun 8.22 (0:28)
27: She Said She Said 8.23 (0:59)
28: She Came In Through The Bathroom Window 8.24 (0:38)
29: One Way Out 8.25 (0:33)
30: MacArthur Park 8.26 (4:19)
31: All Things Must Pass 8.27 (1:59)
32: All Things Must Pass 8.28 (1:20)
33: All Things Must Pass 8.29 (0:05)
34: All Things Must Pass 8.30 (0:15)
35: All Things Must Pass 8.31 (8:14)
36: All Things Must Pass 8.32 (4:52)
37: All Things Must Pass 8.33 (2:02)
38: All Things Must Pass 8.34 (1:43)

Disc 2: (1:10:50)
01: All Things Must Pass 8.35 (1:50)
02: All Things Must Pass 8.36 (1:42)
03: All Things Must Pass 8.37 (1:39)
04: Mean Mister Mustard 8.38 (4:09)
05: Don't Let Me Down 8.39 (1:38)
06: All Things Must Pass 8.40 (3:25)
07: Fools Like Me 8.41 (2:14)
08: You Win Again 8.42 (1:41)
09: Improvisation 8.43 (1:35)
10: She Came In Through The Bathroom Window 8.44 (1:17)
11: She Came In Through The Bathroom Window 8.45 (1:34)
12: She Came In Through The Bathroom Window 8.46 (3:11)
13: She Came In Through The Bathroom Window 8.47 (3:07)
14: Right String, Wrong Yo-Yo 8.48 (0:14)
15: Boogie Woogie 8.49 (0:16)
16: Baa Baa Blacksheep 8.50 (0:22)
17: Mr. Bassman 8.51 (0:17)
18: Roll Announcement (0:04)
19: Slate Announcement (0:04)
20: Improvisation 8.52 (1:11)
21: Improvisation 8.53 (3:26)
22: I Me Mine 8.54 (1:03)
23: Improvisation 8.55 (1:35)
24: Maxwell's Silver Hammer 8.56 (4:00)
25: Maxwell's Silver Hammer 8.57 (0:54)
26: Maxwell's Silver Hammer 8.58 (3:46)
27: Maxwell's Silver Hammer 8.59 (4:08)
28: Maxwell's Silver Hammer 8.60 (0:51)
29: Maxwell's Silver Hammer 8.61 (1:49)
30: Maxwell's Silver Hammer 8.62 (1:40)
31: Maxwell's Silver Hammer 8.63 (2:32)
32: Maxwell's Silver Hammer 8.64 (0:50)
33: Maxwell's Silver Hammer 8.65 (1:09)
34: Maxwell's Silver Hammer 8.66 (1:05)
35: Life Is What You Make It 8.67 (0:08)
36: Maxwell's Silver Hammer 8.68 (2:17)
37: Maxwell's Silver Hammer 8.69 (5:15)
38: Improvisation 8.70 (2:53)

Disc 3: (1:17:04)
01: I Me Mine 8.71 (0:50)
02: I Me Mine 8.72 (3:37)
03: How Do You Think I Feel 8.73 (0:42)
04: The Ballad Of Bonnie And Clyde 8.74 (1:27)
05: Hello Mudduh, Hello Fadduh! 8.75 (1:43)
06: I Me Mine 8.76 (1:48)
07: FBI 8.77 (2:08)
08: I'm Going To Knock Him Down Dead 8.78 (0:31)
09: Unknown 8.79 (1:20)
10: Oh! Darling 8.80 (2:03)
11: I Me Mine 8.81 (0:42)
12: Let It Be 8.82 (10:29)
13: Unknown 8.83 (1:07)
14: Unknown 8.84 (0:18)
15: Unknown 8.85 (0:19)
16: The Fool 8.86 (0:23)
17: I Me Mine 8.87 (2:47)
18: I Me Mine 8.88 (0:49)
19: I Me Mine 8.89 (0:41)
20: I Me Mine 8.90 (2:23)
21: I Me Mine 8.91 (2:24)
22: I Me Mine 8.92 (0:48)
23: I Me Mine 8.93 (0:53)
24: Roll and Dialogue (0:11)
25: I Me Mine 8.94 (1:31)
26: I Me Mine 8.95 (0:04)
27: I Me Mine 8.96 (0:56)
28: I Me Mine 8.97 (1:12)
29: I Me Mine - Domino 8.98 (1:44)
30: I Me Mine 8.99 (1:21)
31: I Me Mine 8.100 (0:21)
32: I Me Mine 8.101 (2:04)
33: The Long And Winding Road 8.102 (0:45)
34: The Long And Winding Road 8.103 (1:03)
35: The Long And Winding Road 8.104 (6:13)
36: Adagio For Strings 8.105 (1:07)
37: I Me Mine 8.106 (0:39)
38: Tell All The Folks Back Home 8.107 (1:38)
39: I Me Mine 8.108 (2:07)
40: I Me Mine 8.109 (1:55)
41: Improvisation 8.110 (3:16)
42: True Love 8.111 (1:39)
43: Unknown 8.112 (1:19)
44: Shout! 8.113 (1:12)
45: Sweet Little Sixteen 8.114 (1:13)
46: Malague?a 8.115 (0:22)
47: Almost Grown 8.116 (1:23)
48: What Am I Living For 8.117 (1:37)

Disc 4: (1:17:01)
01: Dialogue (0:38)
02: Rock And Roll Music 8.118 (1:45)
03: I Me Mine 8.119 (0:45)
04: I Me Mine 8.120 (0:56)
05: I Me Mine 8.121 (1:26)
06: I Me Mine 8.122 (0:43)
07: I Me Mine 8.123 (1:17)
08: I Me Mine 8.124 (1:02)
09: I Me Mine 8.125 (1:44)
10: I Me Mine 8.126 (3:07)
11: I Me Mine 8.127 (1:08)
12: I Me Mine 8.128 (0:58)
13: I Me Mine 8.129 (0:24)
14: I Me Mine 8.130 (0:33)
15: I Me Mine 8.131 (0:49)
16: I Me Mine 8.132 (1:48)
17: The Long And Winding Road 8.133 (3:12)
18: The Long And Winding Road 8.134 (0:04)
19: The Long And Winding Road 8.135 (2:43)
20: The Long And Winding Road 8.136 (0:07)
21: The Long And Winding Road 8.137 (0:13)
22: The Long And Winding Road 8.138 (17:51)
23: Let It Be 8.139 (3:07)
24: Let It Be 8.140 (6:21)
25: To Kingdom Come 8.141 (2:31)
26: Dialogue (14:13)
27: Dialogue (7:36)

On the fifth day of rehearsals for The Beatles' Get Back/Let It Be project, the group continued work on the stronger songs performed thus far, and tested out arrangements on a number of others.
The early part of the day saw run-throughs of Two Of UsDon't Let Me DownI've Got A Feeling and One After 909, all songs which made it onto vinyl. The Beatles were in reasonably high spirits at this point, playing through the songs with enthusiasm which was sadly lacking elsewhere for much of January 1969.
The momentum noticeably flagged when the group performed George Harrison's All Things Must Pass, which the other Beatles had remained unenthusiastic towards. Equally aimless were versions of She Came In Through The Bathroom Window and Maxwell's Silver Hammer, songs which The Beatles would return to with greater focus later in 1969.
Another Abbey Road song making its debut on this day was Mean Mr MustardJohn Lennon had recorded a demo of the song in May 1968, but it was not considered for the White Album. On this day The Beatles performed a rough version which wasn't much different from the final release, although in the lyrics Pam was known as Shirley.
Another Harrisong, I Me Mine, received more attention, with the group playing a total of 41 versions, although more often than not these were incomplete. This was the only day in January 1969 that The Beatles played it; although it was discussed in subsequent days, there was little inclination to return to it after this.
George Harrison had written I Me Mine the night before, and it began as a plain acoustic song. The Let It Be film showed some footage of The Beatles working on the song on this day, but the album version was a re-recording made in January 1970.
Two songs by Paul McCartneyLet It Be and The Long And Winding Road, had by this stage been established as proper contenders deserving sustained work. McCartney had by now completed writing both songs, so much of his efforts were devoted to helping the rest of the group learn the chord changes and arrangements.
Of the cover versions and improvisations, there was little from this day that was noteworthy, most of them being brief renditions in between proper rehearsals. Two early Lennon-McCartney compositions - Too Bad About Sorrows and Just Fun - were performed, but each lasted just seconds.

After Two Bad About Sorrows, however, Lennon made the remark: "Queen says no to pot-smoking FBI members". This was included on the Let It Be album prior to For You Blue, and was the only piece of audio recorded at Twickenham to be used on the record; everything else was recorded either at Apple Studios or Abbey Road.

Get Back/Let It Be sessions: day 6

January 9, 1969


 Disc 1: (1:03:00)
01: Roll Announcement (0:06)
02: Slate Announcement (0:16)
03: Dialogue (2:34)
04: Another Day 9.01 (3:27)
05: Unknown 9.02 (0:33)
06: Instrumental 9.03 (1:29)
07: The Palace Of The King Of The Birds 9.04 (0:23)
08: The Palace Of The King Of The Birds 9.05 (0:31)
09: Let It Be 9.06 (0:42)
10: The Long And Winding Road 9.07 (6:17)
11: Let It Be 9.08 (3:45)
12: Her Majesty 9.09 (2:03)
13: Golden Slumbers 9.10 (4:47)
14: Carry That Weight 9.11 (2:57)
15: The Long And Winding Road 9.12a (2:42)
16: The Long And Winding Road 9.12b (0:14)
17: The Long And Winding Road 9.13 (2:44)
18: The Long And Winding Road 9.14 (2:35)
19: Oh! Darling 9.15 (2:28)
20: Instrumental 9.16 (2:33)
21: Instrumental 9.17 (5:33)
22: Instrumental 9.18 (3:27)
23: Instrumental 9.19 (0:41)
24: For You Blue 9.20 (2:51)
25: For You Blue 9.21 (2:40)
26: For You Blue 9.22 (3:09)
27: For You Blue 9.23 (1:33)

Disc 2: (1:17:36)
01: Slate Announcement (0:59)
02: For You Blue 9.24 (0:48)
03: For You Blue 9.25 (2:51)
04: For You Blue 9.26 (2:46)
05: For You Blue 9.27 (4:03)
06: Improvisation 9.28 (3:15)
07: Two Of Us 9.29 (2:12)
08: Two Of Us 9.30 (2:16)
09: Two Of Us 9.31 (2:54)
10: Two Of Us 9.32 (6:46)
11: Two Of Us 9.33 (3:04)
12: Two Of Us 9.34 (1:16)
13: Two Of Us 9.35 (2:20)
14: Two Of Us 9.36 (5:05)
15: Baa, Baa, Black Sheep 9.37 (1:51)
16: Don't Let Me Down 9.38 (3:14)
17: Suzy's Parlour 9.39 (2:25)
18: I've Got A Feeling 9.40 (4:15)
19: I've Got A Feeling 9.41 (14:28)
20: I've Got A Feeling 9.42 (1:42)
21: I've Got A Feeling 9.43 (0:28)
22: I've Got A Feeling 9.44 (1:28)
23: One After 909 9.45 (0:43)
24: One After 909 9.46 (0:22)
25: One After 909 9.47 (0:17)
26: One After 909 9.48 (0:55)
27: Norwegian Wood 9.49 (0:37)
28: She Came In Through The Bathroom Window 9.50 (0:17)
29: She Came In Through The Bathroom Window 9.51 (2:16)
30: She Came In Through The Bathroom Window 9.52 (0:17)
31: Be Bop A Lula 9.53 (1:07)
32: She Came In Through The Bathroom Window 9.54 (0:19)

Disc 3: (1:13:30)
01: She Came In Through The Bathroom Window 9.55 (2:25)
02: She Came In Through The Bathroom Window 9.56 (2:22)
03: She Came In Through The Bathroom Window 9.57 (0:21)
04: Unknown 9.58 (1:13)
05: Get Back 9.59 (2:27)
06: Get Back 9.60 (5:17)
07: Get Back 9.61 (5:27)
08: Get Back 9.62 (3:06)
09: Get Back 9.63 (0:37)
10: Get Back 9.64 (4:34)
11: Let It Be 9.65 (1:57)
12: Instrumental 9.66 (5:46)
13: La Penina 9.67 (1:07)
14: Instrumental 9.68 (1:17)
15: Across The Universe 9.69 (1:03)
16: Across The Universe 9.70 (1:01)
17: Across The Universe 9.71 (0:06)
18: Across The Universe 9.72 (0:33)
19: Across The Universe 9.73 (1:28)
20: Across The Universe 9.74 (1:02)
21: Across The Universe 9.75 (0:07)
22: Across The Universe 9.76 (0:05)
23: Across The Universe 9.77 (0:04)
24: Teddy Boy 9.78 (0:15)
25: Junk 9.79 (0:16)
26: Across The Universe 9.80 (4:15)
27: Across The Universe 9.81 (1:59)
28: Across The Universe 9.82 (3:34)
29: Shakin' In The Sixties 9.83 (0:41)
30: Move It 9.84 (0:52)
31: Good Rockin' Tonight 9.85 (2:05)
32: Tennessee 9.86 (2:01)
33: Across The Universe 9.87 (0:20)
34: House Of The Rising Sun 9.88 (3:12)
35: Commonwealth 9.89 (3:36)
36: Enoch Powell 9.90 (0:29)
37: Get Off 9.91 (5:58)
38: For You Blue 9.92 (0:22)
39: Get Off 9.93 (0:10)

Disc 4: (1:04:35)
01: For You Blue 9.94a (0:17)
02: Get Off 9.94b (0:52)
03: Honey, Hush 9.95 (2:13)
04: For You Blue 9.96 (0:59)
05: For You Blue 9.97 (2:45)
06: For You Blue 9.98 (0:32)
07: Hitch Hike 9.99 (0:47)
08: For You Blue 9.100 (1:52)
09: For You Blue 9.101 (3:31)
10: Quit Your Messing Around 9.102 (0:36)
11: Instrumental 9.103 (0:34)
12: All Together Now 9.104 (0:07)
13: Ramblin' Woman 9.105 (3:18)
14: I Threw It All Away 9.106 (2:14)
15: Mama, You Been On My Mind 9.107 (2:25)
16: Let It Be 9.108 (8:39)
17: Let It Be 9.109 (16:39)
18: Let It Be 9.110 (1:52)
19: Let It Be 9.111 (2:25)
20: Let It Be 9.112 (2:12)
21: That'll Be The Day 9.113 (2:59)
22: I've Got A Feeling 9.114 (0:25)
23: Jenny, Jenny - Slippin' And Slidin' 9.115 (2:25)
24: Let It Be 9.116 (3:57)
Disc 5: (42:58)
01: Let It Be 9.117 (20:07)
02: Let It Be 9.118 (2:55)
03: Let It Be 9.119 (1:25)
04: Let It Be 9.120a (2:13)
05: Let It Be 9.120b (7:22)
06: Let It Be 9.121 (3:30)
07: Let It Be 9.122 (3:42)
08: Dialogue (1:09)
09: Dialogue (0:35)

The sixth day of the Get Back/Let It Be sessions began with Paul McCartney working alone on a number of songs.
McCartney was the first of The Beatles to arrive at Twickenham Film Studios, and he used the time alone to perform several songs at the piano. Making their debuts on this day were Her Majesty and Another Day, the latter becoming his first solo single in 1971.
Also performed was another version of The Palace Of The King Of The Birds, an instrumental McCartney recorded years later for the unreleased Rupert The Bear album which he had first played on 6 and 7 January.
Once the other Beatles arrived, work continued on several key songs, among them I've Got A FeelingOne After 909 and Two Of Us.
George Harrison's For You Blue had also been played on 6 and 7 January, but on this day it became more of a beefier rocker than in its initial incarnations. Less serious were performances of She Came In Through The Bathroom Window and Across The Universe, which featured The Beatles trying various non-serious arrangements and making several jokey lyrical changes and asides.
Let It Be was given more focused attention, and was played a total of 16 times. These performances were led by McCartney, who called out suggestions as the others played. John Lennon was on bass guitar for this part of the day, as the group were intending to record no overdubs and McCartney was at the piano.
At this stage of the Twickenham rehearsals, Get Back was a driving rock song with half-written lyrics about Theresa and Joe. At one point McCartney improvised some words ("Don't dig no Pakistanis taking all the people's jobs"; "Don't need no Puerto Ricans living in the USA") which later led to accusations of racism after the tapes were bootlegged. It is clear, however, that he was parodying right-wing attitudes held by many in Britain in the late 1960s, including the Conservative Party politician Enoch Powell.
Another song, Commonwealth, was a 1950s-style rock 'n' roll performance with McCartney singing in an Elvis style. This, too, touched upon the themes of immigration and racism expressed earlier in the day. Another rocker, Suzy's Parlour, was included in the Let It Be film, although it was mistitled as Suzy Parker when copyrighted.
Teddy BoyJunk and Penina were all McCartney compositions, and were given brief outings on this day. The latter was recorded by Carlos Mendes for a 1969 single, and only Teddy Boy was returned to during the Get Back/Let It Be sessions.
As was customary, numerous 1950s and '60s oldies were performed, most of which were throwaway efforts. Honey Hush was perhaps the most cohesive, but Good Rockin' Tonight and Tennessee suffered from misremembered vocals and hillbilly-style vocals respectively.

Harrison performed solo acoustic versions of Bob Dylan's Mama, You Been On My Mind and the as-yet-unreleased I Threw It All Away, although his vocals were barely audible due to bad microphone placement. He also played a Dylanesque new composition, which was never developed further but was titled Ramblin' Woman by bootleggers.

Get Back/Let It Be sessions: day 7
George Harrison quits The Beatles
January 10, 1969



Disc 1: (1:18:48)
01: Slate Announcement (0:07)
02: Dialogue (24:29:00)
03: Dialogue (10:37)
04: Improvisation 10.01 (1:36)
05: Improvisation 10.02 (0:37)
06: The Long And Winding Road 10.03 (2:53)
07: Let It Be 10.04 (2:32)
08: Don't Let Me Down 10.05 (1:55)
09: Maxwell's Silver Hammer 10.06 (1:48)
10: I've Got A Feeling 10.07 (2:51)
11: The Long And Winding Road 10.08 (2:11)
12: Improvisation 10.09 (2:22)
13: Get Back 10.10 (2:58)
14: I've Got A Feeling 10.11 (0:25)
15: I've Got A Feeling 10.12 (2:58)
16: Get Back 10.13 (7:37)
17: Get Back 10.14 (1:38)
18: I've Got A Feeling 10.15 (5:31)
19: Get Back 10.16 (1:35)
20: Get Back 10.17 (2:08)

Disc 2: (1:18:21
01: Get Back 10.18 (6:17)
02: Get Back 10.19 (3:15)
03: Get Back 10.20 (3:05)
04: She's A Woman 10.21 (0:21)
05: Get Back 10.22 (10:30)
06: Get Back 10.23 (4:03)
07: Hi Heel Sneakers 10.24 (2:02)
08: Hi Heel Sneakers 10.25 (0:50)
09: Long Tall Sally 10.26 (0:42)
10: Get Back 10.27 (0:22)
11: Instrumental 10.28 (1:34)
12: Get Back 10.29 (3:57)
13: Get Back 10.30 (3:16)
14: Get Back 10.31 (3:23)
15: Get Back 10.32 (2:12)
16: Get Back 10.33 (1:06)
17: Theme From The Beatles Cartoon 10.34 (0:43)
18: Get Back 10.35 (4:03)
19: Get Back 10.36 (2:41)
20: Get Back 10.37 (3:45)
21: Catch A Falling Star 10.38 (0:45)
22: Get Back 10.39 (1:33)
23: Get Back 10.40 (1:40)
24: Get Back 10.41 (1:51)
25: Improvisation 10.42 (3:29)
26: Two Of Us 10.43 (0:53)
27: Two Of Us 10.44 (3:09)
28: Two Of Us 10.45 (0:47)
29: Two Of Us 10.46 (2:03)
30: Two Of Us 10.47 (4:04)

Disc 3: (58:28
01: Two Of Us 10.48 (16:18)
02: I'm Talking About You 10.49 (George quits) (0:12)
03: George Leaves The Room (1:19)
04: A Quick One While He's Away 10.50 (1:26)
05: A Quick One While He's Away 10.51 (1:44)
06: A Quick One While He's Away 10.52 (0:04)
07: A Quick One While He's Away 10.53 (4:02)
08: Improvisation 10.54 (2:04)
09: Improvisation 10.55 (0:42)
10: Improvisation 10.56 (0:31)
11: Improvisation 10.57 (5:15)
12: Improvisation 10.58 (3:54)
13: I've Got A Feeling 10.59 (0:35)
14: Improvisation 10.60 (3:49)
15: Don't Let Me Down 10.61 (0:22)
16: Till There Was You 10.62 (0:42)
17: C'mon Everybody 10.63 (0:51)
18: Unknown 10.64 (0:06)
19: Maxwell's Silver Hammer 10.65 (0:12)
20: Mack The Knife 10.66 (0:55)
21: Maxwell's Silver Hammer 10.67 (1:22)
22: Maxwell's Silver Hammer 10.68 (2:33)
23: Don't Be Cruel 10.69 (3:41)
24: On A Sunny Island 10.70 (0:25)
25: The Peanut Vendor 10.71 (2:37)
26: It's Only Make Believe 10.72 (1:42)
27: Through A London Window 10.73 (1:05)

Disc 4: (1:01:14)
01: Dialogue (3:46)
02: Dialogue (0:07)
03: Dialogue (20:50)
04: The Long And Winding Road 10.74 (4:03)
05: Adagio For Strings 10.75 (2:22)
06: Martha My Dear 10.76 (9:57)
07: Improvisation 10.77 (0:34)
08: Improvisation 10.78 (5:08)
09: Improvisation 10.79 (6:42)
10: Improvisation 10.80 (0:48)
11: Improvisation 10.81 (0:48)
12: Sun King 10.82 (1:00)
13: Dear Prudence 10.83 (1:33)
14: Dialogue (3:36)

Just as Ringo Starr had temporarily quit The Beatles in August 1968, George Harrison walked out on this day, unable to tolerate any longer the tensions within the group.
The Beatles were at Twickenham Film Studios, where their rehearsals were being captured on camera. The day began with Paul McCartney working alone at a piano, playing through a number of songs that the group had been working on during the previous week. These included solo versions of I've Got A Feeling and Get Back, which were usually performed with guitars.
The Beatles, still as a group, worked hard on Get Back during the morning. McCartney still hadn't finalised the lyrics, but Tucson, Arizona was emerging as a setting. For one run-through John Lennon took the lead vocals.
After several attempts at working Get Back into shape, The Beatles moved onto Two Of Us. After breaking for lunch, however, George Harrison walked out of the studio.


"At Twickenham, The Beatles, Yoko, and I, often joined by our cameraman Tony Richmond, would have a proper lunch in the small dining room up a flight of stairs, adjoining a bar where some crew members and studio office workers would be sinking their couple of pints of beer before going off to their own lunch...
George was usually with us, joining in the conversation, affable and friendly and interested in the give- and- take, but on the day of the Tunisian discussion, he wasn't with us as the meal started. At the morning rehearsal, I could tell by his silence and withdrawal that something was simmering inside him, and so in my role as documentarian, I'd asked our soundman to bug the flower pot on the lunch table.
We'd finished the first course when George arrived to stand at the end of the table.
We looked at him as he stood silent for a moment.
"See you 'round the clubs," he said.
That was his good-bye. He left.
John, a person who reacted aggressively to provocation, immediately said, "Let's get in Eric. He's just as good and not such a headache."
Paul and Ringo would not be drawn in, and after lunch we went back to the studio where Paul, John, and Ringo improvised a ferocious riff, half an hour of anger and frustration expressed with guitars and drums. Yoko sat on the edge of the rostrum on the blue cushion which had been George's and howled into his mike.
(My bug had only picked up the sounds of cutlery banging on china plates, obscuring what the muffled voices had said.)"

Michael Lindsay-Hogg
 Luck and Circumstance

Harrison later recounted the incident for the Anthology project.

"They were filming us having a row. It never came to blows, but I thought, 'What's the point of this? I'm quite capable of being relatively happy on my own and I'm not able to be happy in this situation. I'm getting out of here.'

Everybody had gone through that. Ringo had left at one point. I know John wanted out. It was a very, very difficult, stressful time, and being filmed having a row as well was terrible. I got up and I thought, 'I'm not doing this any more. I'm out of here.' So I got my guitar and went home and that afternoon wrote Wah-Wah.

It became stifling, so that although this new album was supposed to break away from that type of recording (we were going back to playing live) it was still very much that kind of situation where he already had in his mind what he wanted. Paul wanted nobody to play on his songs until he decided how it should go. For me it was like: 'What am I doing here? This is painful!'

Then superimposed on top of that was Yoko, and there were negative vibes at that time. John and Yoko were out on a limb. I don't think he wanted much to be hanging out with us, and I think Yoko was pushing him out of the band, inasmuch as she didn't want him hanging out with us.

It's important to state that a lot of water has gone under the bridge and that, as we talk now, everybody's good friends and we have a better understanding of the past. But talking about what was happening at that time, you can see it was strange."

George Harrison
Anthology

Whether in denial or disbelief, the remaining three Beatles carried on rehearsing without Harrison. Just as they'd worked on Back In The USSR and Dear Prudence without Starr, here John Lennon led the others through The Who's A Quick One, While He's Away - the title a clear reference to Harrison. At one point he was heard to sarcastically call out "OK George, take it!"

"George left because Paul and he were having a heated discussion. They weren't getting on that day and George decided to leave, but he didn't tell John or me or Paul. There'd been some tension going down in the morning, and arguments would go on anyway, so none of us realised until we went to lunch that George had gone home. When we came back he still wasn't there, so we started jamming violently. Paul was playing his bass into the amp and John was off, and I was playing some weird drumming that I hadn't done before. I don't play like that as a rule. Our reaction was really, really interesting at the time. And Yoko jumped in, of course; she was there."

Ringo Starr
Anthology

Yoko Ono positioned herself on Harrison's blue cushion, and wailed over the top of a series of barely-listenable, blues-based jams. The three Beatles joined together in the harshness of the music, possibly finding it cathartic amid the uncertainty of the day.
The aggressive tone carried through to the proper work, when it continued. The group performed jagged versions of I've Got A Feeling and Don't Let Me Down, with Lennon screaming during parts of the latter. He also sang Maxwell's Silver Hammer in an exaggerated German accent.
After some half-hearted runs through cover versions The Beatles largely stopped work to discuss the future of the Get Back project with the crew, although McCartney returned to his piano. As he did, Yoko Ono began wailing to his accompaniment, seemingly oblivious to the tensions in the room.
The Nagra reel-to-reel tapes that were recording audio for the cameras captured Lennon in conversation with director Michael Lindsay-Hogg. Lennon at one point suggested replacing Harrison with Eric Clapton if he didn't return within a few days.
A series of jams took place towards the end of the day, again with Ono moaning or screaming largely wordless vocals. Finally, McCartney moved to drums, Lennon played guitar and Starr took the microphone for some improvised spoken lines, words which summed up their aimless desperation at this time.

"Yeah, rock it to me baby! That's what I like! You may think this is a full orchestra, but if you look closely, you can see there's only two people playing and one person singing. I know it sounds like Benny Goodman, but don't worry, it's the big sound of 1969! You bet your life! Oh, sock it to me, sock it to me!"


Ringo Starr

Get Back/Let It Be sessions: day 8

January 13, 1969 



Disc 1: (1:02:29)
01: Dialogue (1:19)
02: Dialogue (2:20)
03: Dialogue (1:37)
04: Dialogue (1:20)
05: Dialogue (0:44)
06: Dialogue (1:20)
07: Dialogue (1:05)
08: Dialogue (1:35)
09: Dialogue (1:00)
10: Dialogue (0:28)
11: Dialogue (0:24)
12: Dialogue (0:08)
13: Dialogue (0:42)
14: Dialogue (1:40)
15: Dialogue (13:49)
16: Dialogue (16:08)
17: Dialogue (5:17)
18: Ob-La-Di, Ob-La-Da 13.01 (0:59)
19: Ob-La-Di, Ob-La-Da 13.02 (3:36)
20: Sleep On It, Otis 13.03 (2:49)
21: Dialogue (4:09)

Disc 2: (1:06:40)
01: Dialogue (1:07)
02: Baby, Come Back 13.04 (0:21)
03: Build Me Up, Buttercup 13.05 (4:06)
04: Build Me Up, Buttercup 13.06 (9:45)
05: Build Me Up, Buttercup 13.07 (0:17)
06: Dialogue (38:38:00)
07: Dialogue (3:44)
08: Roll Announcement (0:10)
09: Dialogue (6:46)
10: Dialogue (0:40)
11: Dialogue (0:39)
12: Dialogue (0:05)
13: Roll Announcement (0:05)
14: Slate Announcement (0:08)
15: Dialogue (0:09)

Disc 3: (1:19:41)
01: Dialogue Lunchroom Tape (28:56:00)
02: Instrumental 13.08 (3:38)
03: Instrumental 13.09 (0:06)
04: Instrumental 13.10 (0:38)
05: Instrumental 13.11 (3:16)
06: Dig A Pony 13.12 (0:13)
07: Instrumental 13.13 (2:21)
08: Dig A Pony 13.14 (1:31)
09: Get Back 13.15 (1:32)
10: Instrumental 13.16 (1:02)
11: Get Back 13.17 (0:39)
12: Get Back 13.18 (0:31)
13: Get Back 13.19 (0:49)
14: Get Back 13.20 (0:10)
15: Get Back 13.21 (0:48)
16: Get Back 13.22 (0:33)
17: Get Back 13.23 (0:18)
18: Get Back 13.24 (1:10)
19: Instrumental 13.25 (3:03)
20: Instrumental 13.26 (1:05)
21: Get Back 13.27 (5:05)
22: Get Back 13.28 (2:43)
23: Get Back 13.29 (2:57)
24: Get Back 13.30 (5:48)
25: Get Back 13.31 (1:50)
26: Get Back 13.32 (0:40)
27: On The Road Again 13.33 (0:38)
28: Improvisation 13.34 (1:00)
29: Dialogue (6:41)



The Beatles had met at Ringo Starr's house over the previous weekend in an attempt to resolve the issues that had led to George Harrison walking out of the Get Back/Let It Be sessions.
The meeting was not a success, but in the absence of any other ideas, the three remaining Beatles regrouped at Twickenham Film Studios to continue work on the project.
Unsurprisingly, Harrison didn't show up, and John Lennon too was absent for much of the day. The bulk of the recordings made, therefore, featured conversations rather than music, and reveal much about the prevailing thoughts within the group at the time. A lunchtime conversation, in particular, has proved particularly valuable in understanding how McCartney, Starr and Lennon were feeling.
Lennon is heard wondering aloud whether he wants Harrison to be a part of the group any more, and agrees with McCartney that he had drifted away from the others in recent months. McCartney, ever the diplomat, admits that there had been a pecking order since they were school-age, and that he and Lennon had always been The Beatles' leaders.
Lennon admits that their music has become formulaic, and contrasts it with the excitement of making Revolver in 1966. Presciently, he remarks that the only challenge left for them is to go solo, although he is uncertain about stepping away from The Beatles.
McCartney offers encouraging phrases towards Lennon and Starr, and says they should stop worrying about minor details in the songs and concentrate instead on performing to the best of their abilities. He also wonders what would be the best way to steer Harrison towards a particular way of playing.
The day also allowed Lennon and Paul McCartney to refine some of their songs, particularly Get Back. McCartney settled on Tucson, Arizona for Jo Jo's hometown, and Harrison's absence allowed Lennon greater freedom to work up some lead guitar parts.


The three Beatles spent another day at Twickenham before giving up and relocating to Apple Studios in London

Get Back/Let It Be sessions: day 9

January 14, 1969

 Disc 1: (1:02:13)
01: Roll Announcement (0:06)
02: Improvisation 14.01 (1:52)
03: Improvisation 14.02 (1:10)
04: Martha My Dear 14.03 (1:26)
05: San Francisco Bay Blues 14.04 (2:17)
06: Improvisation 14.05 (1:20)
07: Improvisation 14.06 (0:58)
08: Oh Baby I Love You 14.07 (2:35)
09: Improvisation 14.08 (0:56)
10: The Day I Went Back To School 14.09 (3:15)
11: Lady Jane 14.10 (2:25)
12: Lady Jane 14.11 (0:47)
13: Talking Blues 14.12 (0:30)
14: Improvisation 14.13 (1:19)
15: Improvisation 14.14 (0:42)
16: Woman 14.15 (0:35)
17: Woman 14.16 (2:01)
18: Woman 14.17 (1:33)
19: Cocaine Blues 14.18 (0:32)
20: Flushed From The Bathroom Of Your Heart 14.19 (0:52)
21: On A Clear Day You Can See Forever 14.20 (0:05)
22: Improvisation 14.21 (0:52)
23: The Back Seat Of My Car 14.22 (4:10)
24: The Back Seat Of My Car 14.23 (3:20)
25: Improvisation 14.24 (0:21)
26: Song Of Love 14.25 (2:32)
27: Song Of Love 14.26 (3:20)
28: As Clear As A Bell 14.27 (0:25)
29: Hello, Dolly 14.28 (1:50)
30: Dialogue (4:23)
31: Dialogue (13:44)
Disc 2: (1:06:06)
01: Roll Announcement (0:13)
02: Dialogue (15:46)
03: Dialogue (1:29)
04: You Are Definitely Inclined Towards It 14.29 (0:29)
05: Dialogue (30:25:00)
06: Dialogue (17:03)
07: Mean Mr. Mustard 14.30 (0:41)
Disc 3: (54:23)
01: Madman 14.31 (7:21)
02: Mean Mr. Mustard - Madman 14.32 (4:05)
03: Watching Rainbows 14.33 (4:30)
04: Improvisation 14.34 (0:25)
05: Watching Rainbows 14.35 (0:58)
06: Improvisation 14.36 (1:56)
07: Improvisation 14.37 (6:54)
08: Take This Hammer 14.38 (3:31)
09: Johnny B. Goode 14.39 (1:46)
10: Johnny B. Goode 14.40 (1:30)
11: Get Back 14.41 (1:57)
12: Improvisation 14.42 (2:36)
13: Don't Start Running 14.43 (3:50)
14: Madman 14.44 (0:37)
15: You Know My Name (Look Up The Number) 14.45 (1:16)
16: Improvisation 14.46 (0:07)
17: Improvisation 14.47 (0:08)
18: Oh! Darling 14.48 (0:43)
19: Oh! Darling 14.49 (3:33)
20: Ob-La-Di, Ob-La-Da 14.50 (0:18)
21: Slate Announcement (0:05)
22: Dialogue (6:17)


The ninth day of the Get Back/Let It Be sessions was the second full one without George Harrison, who had walked out of Twickenham Film Studios on 10 January 1969.
It was clear by this stage that The Beatles were unable to function in any meaningful way as a trio, and motivation and inspiration hit a low mark on this day. As with other Twickenham rehearsals, it began with Paul McCartney working alone at a piano, although there is little of the energetic enthusiasm which he brought to the earlier days.
Once John Lennon and Ringo Starr had arrived, they performed a mix of improvised songs, golden oldies and original compositions, as had become customary in these sessions. One of the songs was Woman, the McCartney song given in 1966 to Peter & Gordon, which had the only known Beatles performance on this day. Another was The Back Seat Of My Car, later to be one of the highlights of McCartney's 1971 album Ram.
A piano boogie duet featuring McCartney and Starr was included in the Let It Be film, and was copyrighted Jazz Piano Song by Apple. Of the other tracks, Madman and Watching Rainbows were Lennon compositions which was taken no further, although Madman was performed again at Apple Studios on 21 January. Lennon also played a brief version of You Know My Name (Look Up The Number), the still-unreleased song which The Beatles began recording in May 1967.
This was followed by a discussion about the future. Let It Be director Michael Lindsay-Hogg asked if they should relocate the filming to EMI Studios and abandon the idea of a live show, but Lennon explained that any decisions should be made with Harrison, who was in Liverpool.
The day ended with McCartney alone at the piano, performing Oh! Darling and a brief version of Ob-La-Di, Ob-La-Da, for Glyn Johns to test the audio equipment.
On this day Lennon and Ono were also interviewed by a reporter from Canada's CBC-TV. It took place around midday and lasted for 30 minutes, and has since become known as the Two Junkies interview.
Lennon was clearly high on heroin during the interview, growing paler and more restless as it progressed. Eventually he said "Excuse me, I feel a bit sick" and the camera was turned off. The second half of the conversation was noticeably livelier, and Lennon discussed live performances, inspiration, and the couple's future plans.
An extract from the Two Junkies interview was used in the 1998 documentary Imagine: John Lennon, in which Lennon discussed being counted both out and in on Revolution 1.


The Beatles held a meeting on the following day, 15 January 1969, and agreed to Harrison's demands to move the sessions from Twickenham to Apple's headquarters in Savile Row, London. These began a week later, on 21 January, in higher spirits and willing to continue with the Let It Be project.

Get Back/Let It Be sessions: day 10

January 21, 1969


Disc 1: (1:14:12)
01: Dialogue (0:06)
02: Dialogue (0:04)
03: Dialogue (0:08)
04: Dialogue (7:04)
05: My Rock And Roll Finger Is Bleeding 21.01 (7:38)
06: Window, Window 21.02 (1:11)
07: Dialogue (1:48)
08: Instrumental 21.03 (2:27)
09: Do The Bunny Hop 21.04 (1:00)
10: Unknown 21.05 (0:48)
11: Instrumental 21.06 (6:43)
12: Somethin' Else 21.07 (2:15)
13: Blossom Dearie They Call Me 21.08 (1:11)
14: Blossom Dearie They Call Me 21.09 (1:08)
15: Oh How I Love The 12-Bar Blues 21.10 (0:18)
16: Daydream 21.11 (1:26)
17: You Are My Sunshine 21.12 (1:58)
18: Whispering-I'm Beginning To See The Light 21.13 (3:22)
19: Instrumental 21.14 (5:33)
20: Instrumental 21.15 (2:26)
21: Unknown 21.16 (0:27)
22: Dig A Pony 21.17 (2:17)
23: I've Got A Feeling 21.18 (1:28)
24: Every Night 21.19 (1:13)
25: Dig A Pony 21.20 (0:23)
26: Dig A Pony 21.21 (2:10)
27: Dig A Pony 21.22 (0:05)
28: Watch Your Step 21.23 (0:21)
29: New Orleans 21.24 (3:47)
30: Madman 21.25 (2:18)
31: Dig A Pony 21.26 (5:22)
32: The Fool 21.27 (1:32)
33: Dig A Pony 21.28 (4:15)

Disc 2: (1:10:07)
01: Dialogue (0:08)
02: Stones x take 1 (0:17)
03: Run For Your Life 21.29 (0:31)
04: Hi Heel Sneakers 21.30 (1:54)
05: My Baby Left Me (That's Alright Mama) 21.3 (4:46)
06: Hallelujah, I Love Her So 21.32 (1:24)
07: Milk Cow Blues-I'm A Man 21.33 (3:27)
08: Improvisation 21.34 (3:39)
09: Dialogue (0:32)
10: Little Queenie 21.35 (0:58)
11: When Irish Eyes Are Smiling 21.36 (1:33)
12: Queen Of The Hop 21.37 (1:43)
13: All I Want Is You 21.38 (1:27)
14: Dig A Pony 21.39 (0:13)
15: Five Feet High And Rising 21.40 (0:32)
16: Dig A Pony 21.41 (4:03)
17: In The Middle Of An Island - Gilly Gilly Ossenfeffer Katzeneleen Bogen By The Sea 21.42 (1:42)
18: Dig A Pony 21.43 (3:12)
19: Improvisation-Good Rockin' Tonight 21.44 (5:00)
20: Forty Days 21.45 (2:00)
21: Too Bad About Sorrows 21.46 (0:59)
22: Dig A Pony 21.47 (4:43)
23: I'm Ready 21.48 (0:27)
24: Dig A Pony 21.49 (0:47)
25: Dig A Pony 21.50 (0:06)
26: Dig A Pony 21.51 (4:00)
27: Shout! 21.52 (0:51)
28: Unknown 21.53 (0:19)
29: I've Got A Feeling 21.54 (2:57)
30: I've Got A Feeling 21.55 (1:05)
31: William Smith Boogie 21.56 (2:43)
32: San Ferry Ann 21.57 (0:16)
33: Dig A Pony 21.58 (0:30)
34: You Gotta Give Back 21.59 (0:39)
35: Dig A Pony 21.60 (4:41)
36: Well, Well, Well 21.61 (0:44)
37: You've Got Me Thinking 21.62 (2:08)
38: Dig A Pony 21.63 (3:11)

Disc 3: (1:04:38)
01: Dig A Pony 21.64 (0:20)
02: I've Got A Feeling 21.65 (3:55)
03: Don't Let Me Down 21.66 (9:02)
04: I've Got A Feeling 21.54P (2:57)
05: Dig A Pony 21.49P (2:46)
06: Shout! 21.52P (2:40)
07: Papa's Got A Brand New Bag 21.50P (0:15)
08: Dig A Pony 21.49P (7:08)
09: Dig A Pony 21.67 (0:56)
10: Dig A Pony 21.68 (0:42)
11: Dig A Pony 21.69 (1:15)
12: Dig A Pony 21.70 (0:32)
13: dialogue (0:48)
14: Let's Dance 21.71 (1:05)
15: Improvisation 21.72 (2:42)
16: Don't Let Me Down 21.73 (3:24)
17: Unknown 21.74 (0:27)
18: Get Back-improvisation 21.75 (0:49)
19: For You Blue 21.76 (2:05)
20: She Came In Through The Bathroom Window 21.77 (1:46)
21: She Came In Through The Bathroom Window 21.78 (2:55)
22: She Came In Through The Bathroom Window 21.79 (3:33)
23: She Came In Through The Bathroom Window 21.80 (3:00)
24: She Came In Through The Bathroom Window 21.81 (6:18)
25: Madman 21.82 (1:25)
26: Is That A Chicken Joke 21.83 (1:53)



Apple Studios, Savile Row, London
Producer: 
George Martin
Engineer: Glyn Johns

Following a week's break, The Beatles resumed work the Get Back/Let It Be sessions with the film crew present. This was the first formal day of work following George Harrison's temporary departure from the group, and saw them relocate from Twickenham Film Studios to the group's own Apple Studios, in the basement of their headquarters in Savile Row, London.

Harrison had agreed to rejoin The Beatles on 15 January 1969, though not without certain conditions being met. It was at his insistence that they work at Apple Studios, and made it clear that he would leave for good unless the notion of a live show before an audience was abandoned. He did, however, agree to be filmed making an album, and for a potential live performance in some form.
The Beatles had actually assembled at Apple Studios the previous day, to test the equipment installed by Alexis 'Magic Alex' Mardas. It was found to be unsatisfactory, and new kit was borrowed from EMI. This day's session didn't start until the afternoon, perhaps due to installation issues.
In terms of repertoire, The Beatles had barely moved on following their week off. They still spent much time working on Dig A PonyI've Got A Feeling and Don't Let Me Down, but their playing was often sloppy and aimless.
One of the takes of Dig A Pony was introduced by Lennon as "I Dig A Pigmy by Charles Hawtrey and the Deaf Aids. Phase one, in which Doris gets her oats." This was later used as the opening for the Let It Be, immediately before Two Of Us.
Paul McCartney brought a new song, Every Night, to the session. This was performed again on 24 January, but was eventually held over until his debut solo album McCartney.
A song by Harrison, titled Window, Window, was introduced on this day and took shape on 24, 25 and 26 January. However, despite recording a solo demo over a year later, it was never released in his lifetime.
John Lennon played a new song idea, All I Want Is You, which was unrelated to Dig A Pony. He also revived Madman, a song previously played on 14 January, but it, too, was taken no further.

The only song from this day to have been officially released was a version of She Came In Through The Bathroom Window, which appeared on 1996's Anthology 3 (the date was incorrectly listed as 22 January in the album booklet), featuring Lennon on Fender Rhodes electric piano.

Get Back/Let It Be sessions: day 11

January 22, 1969 

Disc 1: (1:19:23)
01: Roll announcement (0:09)
02: Dialogue (9:07)
03: I Shall Be Released 22.01 (2:14)
04: Improvisation 22.02 (4:48)
05: Dialogue (2:24)
06: Drum solo 22.03 (2:00)
07: Let It Down 22.04 (3:39)
08: Piano (0:13)
09: Don't Let Me Down 21.73P (0:09)
10: Don't Let Me Down 21.73P (0:09)
11: Dialogue (0:38)
12: Dialogue-piano (0:19)
13: I've Got A Feeling 21.65P (0:53)
14: I've Got A Feeling 21.65P (3:39)
15: Don't Let Me Down 21.73P (0:08)
16: Don't Let Me Down 21.73P (4:30)
17: Unknown 22.05 (1:58)
18: Some Other Guy 22.06 (1:13)
19: Unknown 22.07 (1:24)
20: Johnny B. Goode 22.08 (2:47)
21: Don't Let Me Down 22.09 (4:20)
22: Roll announcement (0:08)
23: Ambiance (0:44)
24: I Shall Be Released 22.10 (3:36)
25: Improvisation 22.11 (1:28)
26: Improvisation 22.12 (1:54)
27: Dialogue (0:49)
28: Dig A Pony 22.13 (0:22)
29: Don't Let Me Down 22.14 (2:33)
30: Dig A Pony 22.15 (4:40)
31: Dig A Pony 22.16 (0:04)
32: Dialogue (0:10)
33: Dig A Pony 22.17 (3:58)
34: Dig A Pony 22.18 (1:37)
35: Dig A Pony 22.19 (3:14)
36: Going Up The Country 22.20 (1:57)
37: Dig A Pony 22.21 (5:06)
38: Improvisation 22.22 (0:22)

Disc 2: (1:16:39)
01: Dialogue (1:03)
02: Dig A Pony 22.23 (5:34)
03: Dig A Pony 22.23P (0:09)
04: Dialogue (0:07)
05: Dialogue (0:21)
06: Going Up The Country 22.20P (0:38)
07: Going Up The Country 22.20P (0:30)
08: Dig A Pony 22.21P (0:10)
09: Dig A Pony 22.23P (1:07)
10: Dig A Pony 22.23P (1:52)
11: Dig A Pony 22.24 (2:03)
12: Dig A Pony 22.25 (2:34)
13: Dig A Pony 22.26 (2:14)
14: Dig A Pony 22.27 (0:36)
15: Dig A Pony 22.28 (2:56)
16: Dig A Pony 22.29 (4:03)
17: I've Got A Feeling 22.30 (3:46)
18: I've Got A Feeling 22.31 (5:05)
19: Riffs (3:01)
20: I've Got A Feeling 22.32 (4:48)
21: I've Got A Feeling 22.33 (4:34)
22: I've Got A Feeling 22.34 (4:02)
23: I've Got A Feeling 22.35 (2:45)
24: I've Got A Feeling 22.36 (1:37)
25: Second large one (0:04)
26: Dialogue (0:38)
27: The Long And Winding Road 22.37 (1:02)
28: The Long And Winding Road 22.38 (0:22)
29: The Long And Winding Road 22.39 (1:42)
30: Improvisation 22.40 (1:02)
31: Noise (0:04)
32: I've Got A Feeling 22.41 (3:00)
33: Dig A Pony 22.42 (0:08)
34: Dig A Pony 22.43 (6:46)
35: Don't Let Me Down 22.44 (4:12)
36: Don't Let Me Down 22.45 (2:04)

Disc 3: (1:16:36)
01: Don't Let Me Down 22.46 (1:26)
02: Don't Let Me Down 22.47 (5:47)
03: Don't Let Me Down 22.48 (5:54)
04: A Taste Of Honey 22.49 (0:13)
05: Improvisation 22.50 (1:05)
06: Oh! Darling 22.51 (1:45)
07: I've Got A Feeling 22.52 (0:09)
08: Dialogue (2:08)
09: I've Got A Feeling 22.53 (0:13)
10: I've Got A Feeling 22.54 (3:11)
11: I've Got A Feeling 22.55 (2:53)
12: I've Got A Feeling 22.56 (1:31)
13: I've Got A Feeling 22.57 (1:56)
14: I'm Ready-improvisation 22.58 (0:45)
15: Save The Last Dance-Don't Let Me Down 22.59 (1:15)
16: Don't Let Me Down 22.60 (4:05)
17: Improvisation 22.61 (1:57)
18: Dig A Pony 22.62 (1:09)
19: Dig A Pony 22.63 (0:41)
20: Dig A Pony 22.64 (4:23)
21: Dig A Pony 22.65 (2:34)
22: Dig A Pony 22.66 (1:11)
23: Slate announcement (0:04)
24: Dig A Pony 22.67 (3:43)
25: Dig A Pony 22.68 (4:06)
26: I've Got A Feeling 22.69 (3:26)
27: I've Got A Feeling 22.70 (4:39)
28: I've Got A Feeling 22.71 (0:49)
29: I've Got A Feeling 22.72 (0:29)
30: I've Got A Feeling 22.73 (8:04)
31: I've Got A Feeling 22.74 (4:38)
32: Carol 22.75 (0:27)

Disc 4: (1:12:44)
01: I've Got A Feeling 22.74P (3:12)
02: I've Got A Feeling 22.74P (0:11)
03: Dig A Pony 22.68P (1:30)
04: Dig A Pony 22.68P (1:00)
05: Dig A Pony 22.64P (2:55)
06: Don't Let Me Down 22.60P (9:48)
07: Roll announcement (0:12)
08: Dialogue (0:08)
09: Dialogue (0:15)
10: Don't Let Me Down 22.76a (1:03)
11: Don't Let Me Down 22.76b (12:37)
12: Don't Let Me Down 22.77 (3:45)
13: Don't Let Me Down 22.78 (0:15)
14: Don't Let Me Down 22.79 (0:21)
15: Don't Let Me Down 22.80 (1:27)
16: Don't Let Me Down 22.81 (0:22)
17: Don't Let Me Down 22.82 (0:06)
18: Don't Let Me Down 22.83 (0:11)
19: Don't Let Me Down 22.84 (0:32)
20: Dig A Pony 22.85 (0:18)
21: I've Got A Feeling 22.86 (3:44)
22: I've Got A Feeling 22.87 (1:20)
23: I've Got A Feeling 22.88 (5:23)
24: I've Got A Feeling 22.89 (1:55)
25: I've Got A Feeling 22.90 (3:28)
26: I've Got A Feeling 22.91 (0:36)
27: I've Got A Feeling 22.92 (5:14)
28: I've Got A Feeling 22.93 (3:53)
29: Improvisation 22.94 (2:27)
30: Dialogue (4:36)


Apple Studios, Savile Row, London
Producer: 
George Martin
Engineer: Glyn Johns
This was the 11th day of the Get Back/Let It Be sessions, and the second to take place at The Beatles' Apple Studios in London.

It was also the first to feature Billy Preston, who had been invited to Apple by George Harrison. Preston had first met The Beatles in Hamburg in the early 1960s, and was in London playing with Ray Charles.
His presence on piano and keyboards helped flesh out the sound considerably, which was helpful given the 'no overdubs' rule of the sessions. The mood within the sessions was greatly improved, with greater focus on the songs they intended to perform in the live special, and fewer displacement activities such as cover versions and improvisations.
Three songs in particular received the bulk of The Beatles' attentions on this day: Don't Let Me DownI've Got A Feeling and Dig A Pony. Versions of I've Got A Feeling and Dig A Pony from the session were included on 1996's Anthology 3.
This version of I've Got A Feeling, plus different ones of Dig A Pony and Don't Let Me Down, were selected for Glyn Johns' first Get Back album, which was rejected for release by The Beatles. Also included were Rocker, a Beatles jam in the style of Chuck Berry, and a cover version of The Drifters' Save The Last Dance For Me.

The only other notable attempt at a cover version from this day was A Taste Of Honey, first recorded by The Beatles in early 1963 for the Please Please Me album. On this day, however, the performance broke down almost before it even got going.

Get Back/Let It Be sessions: day 12

January 23, 1969


Disc 1: (1:10:54)
01: Roll announcement (0:06)
02: Slate and horse (0:35)
03: Street noise (0:56)
04: Dialogue (2:55)
05: Octopus's Garden 23.01 (1:52)
06: Hey, Hey Georgie 23.02 (8:11)
07: Two Of Us 23.03 (1:31)
08: Roll announcement (0:08)
09: I've Got A Feeling 23.04 (3:17)
10: I've Got A Feeling 23.05 (1:33)
11: Get Back 23.06 (1:45)
12: Get Back 23.07 (5:23)
13: Get Back 23.08 (1:31)
14: Get Back 23.09 (2:37)
15: Roll announcement (0:08)
16: Get Back 23.10 (1:02)
17: If You Need Me 23.11 (1:55)
18: Get Back 23.12 (2:00)
19: Get Back 23.13 (3:38)
20: Get Back 23.14 (2:57)
21: Get Back - Reach Out 23.15 (4:30)
22: Roll announcement (0:09)
23: Get Back 23.16 (2:25)
24: Get Back 23.17 (10:13)
25: Get Back 23.18 (3:22)
26: Get Back 23.19 (0:10)
27: Rehearsals (6:05)

Disc 2: (1:15:30)
01: Get Back 23.20 (9:54)
02: Roll announcement (0:09)
03: Rehearsals (4:06)
04: Get Back 23.21 (11:07)
05: Get Back 23.22 (0:55)
06: Rehearsals (2:43)
07: Get Back 23.23 (12:16)
08: Get Back 23.24 (1:10)
09: Get Back 23.25 (10:07)
10: Get Back 23.26 (2:32)
11: Get Back 23.27 (0:22)
12: Words Of Love 23.28 (1:23)
13: Get Back 23.29 (2:46)
14: Roll announcement (0:10)
15: Get Back 23.29P (0:49)
16: Get Back 23.29P (1:39)
17: Blues instrumental 23.30 (8:58)
18: Get Back 23.31 (0:21)
19: Twenty Flight Rock 23.32 (3:28)
20: Get Back 23.33 (0:35)
Disc 3: (1:17:24)
01: Get Back 23.34 (0:06)
02: Get Back 23.35 (1:01)
03: Get Back 23.36 (2:26)
04: Get Back 23.37 (2:51)
05: Get Back 23.38 (6:07)
06: Get Back 23.39 (3:24)
07: Oh! Darling 23.40 (16:13)
08: Oh! Darling 23.41 (4:33)
09: Instrumental 23.42 (1:05)
10: Two Of Us 23.43 (1:48)
11: Dialogue (0:11)
12: Guitar Instrumental 23.44 (0:30)
13: Let It Be 23.45 (2:48)
14: Improvisation 23.46 (3:43)
15: Mean Mr. Mustard 23.47 (0:12)
16: Improvisation 23.48 (0:27)
17: Improvisation 23.49 (4:08)
18: Let's Twist Again 23.50 (3:00)
19: Oh! Darling 23.51 (0:25)
20: The Long And Winding Road 23.52 (2:43)
21: Love Is The Thing To Me 23.53 (1:47)
22: Everything's Alright 23.54 (1:42)
23: I Want To Thank You 23.55 (3:03)
24: You've Been Acting Strange 23.56 (1:17)
25: Use What You Got 23.57 (2:01)
26: Together In Love 23.58 (1:34)
27: Feedback Improvisation 23.59 (3:17)
28: Improvisation 23.60 (5:02)

Disc 4: (1:09:26)
01: Improvisation 23.61 (8:20)
02: Happiness Runs 23.62 (0:09)
03: It Blew Again 23.63 (0:32)
04: Shazam! 23.64 (2:15)
05: Dig A Pony 23.65 (4:55)
06: Get Back 23.66 (2:23)
07: Get Back 23.67 (2:45)
08: Get Back 23.68 (3:28)
09: Get Back 23.69 (5:34)
10: Get Back 23.70 (1:44)
11: Get Back 23.71 (0:35)
12: Get Back 23.72 (2:16)
13: Get Back 23.73 (2:28)
14: Get Back 23.74 (3:12)
15: Get Back 23.75 (3:30)
16: Get Back 23.76 (1:59)
17: I'll Get You 23.77 (0:29)
18: Get Back 23.78 (1:17)
19: Get Back 23.79 (2:37)
20: I've Got A Feeling 23.80 (0:17)
21: Help! 23.81 (0:41)
22: Please Please Me 23.82 (0:45)
23: Let It Be 23.83 (2:04)
24: The Long And Winding Road 23.84 (0:52)
25: Get Back 23.79P (0:15)
26: Get Back 23.79P (3:28)
27: Get Back 23.29P (3:58)
28: Get Back 23.79P (2:32)
29: Dialogue (4:06)

Apple Studios, Savile Row, London
Producer: 
George Martin
Engineer: Glyn Johns

Day 12 of the Get Back/Let It Be sessions yielded nothing that was officially released, but did see The Beatles spend a great deal of time working on the song Get Back.
The presence of Billy Preston greatly helped to shape the song, although at this stage John Lennon was yet to develop his guitar solo and the galloping rhythm of the final version was not yet in place. The coda was, however, and Paul McCartney decided that Get Back would be complete with just two verses.
One of the takes was chosen by Glyn Johns for the first iteration of the Get Back album, which was rejected for release by The Beatles. This album was eventually circulated as Kum Back, one of the first Beatles bootleg collections.
Although work on Get Back dominated the day, The Beatles also spent some time on Oh! Darling, which was eventually held over for Abbey RoadRingo Starr also played a piano version of Octopus's Garden, which was later developed further than the three-chord arrangement he had at this time.
Performances of Please Please Me and Help! both lasted less than a minute. Please Please Me was given a new, mostly atonal, melody, and Help! was performed with a slow swing rhythm.

No more successful was a version of Eddie Cochran's Twenty Flight Rock, one of the songs with which McCartney impressed Lennon by performing on the day they first met, 6 July 1957. Unfortunately, 12 years later McCartney was unable to remember all the lyrics, although The Beatles nonetheless managed a fairly spirited performance.

Get Back/Let It Be sessions: day 13

January 24, 1969 


Disc 1: (1:18:12)
01: Get Back 24.01 (2:49)
02: Get Back 24.02 (9:02)
03: Dialogue (0:42)
04: Get Back 24.03 (0:47)
05: Get Back 24.04 (0:23)
06: (I Can't Get No) Satisfaction 24.05 (1:20)
07: Get Back 24.06 (2:29)
08: What'd I Say 24.07 (3:04)
09: Bass riff-Get Back-Improvisation 24.08 (3:22)
10: Improvisation 24.09 (4:06)
11: Improvisation 24.10 (0:04)
12: Get Back-improvisation 24.11 (0:53)
13: Improvisation 24.12 (0:36)
14: Don't Let Me Down 24.13 (2:09)
15: Ob-La-Di, Ob-La-Da 24.14 (0:58)
16: Get Back 24.15 (3:01)
17: Get Back 24.16 (3:00)
18: Soldier Of Love (Lay Down Your Arms) 24.1 (1:17)
19: Cathy's Clown-Soldier Of Love-Where Have 24.18 (1:55)
20: Love Is A Swingin' Thing 24.19 (0:08)
21: What'd I Say-Love Is A Swingin Thing 24.20 (0:40)
22: She Said Yeah 24.21 (0:37)
23: Child Of Nature 24.22 (2:53)
24: Two Of Us 24.23 (7:25)
25: Two Of Us 24.24 (3:42)
26: You're So Good to Me 24.25 (1:21)
27: Two Of Us 24.26 (2:52)
28: Two Of Us 24.27a (16:37)

Disc 2: (1:19:28)
01: Two Of Us 24.27b (2:50)
02: Two Of Us 24.28 (5:38)
03: Two Of Us 24.29 (3:16)
04: Two Of Us 24.30 (4:39)
05: Two Of Us 24.30P (7:38)
06: She Came In Through The Bathroom Window 24.31 (1:16)
07: Teddy Boy 24.32 (4:43)
08: Teddy Boy 24.33 (7:23)
09: Teddy Boy 24.34 (0:38)
10: Teddy Boy 24.35 (0:18)
11: Teddy Boy 24.36 (1:39)
12: Balls To Your Partner 24.37 (0:12)
13: Ach Du Lieber Augustin 24.38 (0:08)
14: Teddy Boy 24.39 (0:44)
15: Two Of Us 24.40 (3:47)
16: Maggie Mae 24.41 (0:56)
17: I Fancy Me Chances 24.42 (1:44)
18: Two Of Us 24.43 (1:19)
19: Polythene Pam 24.44 (2:09)
20: Improvisation 24.45 (1:24)
21: Two Of Us 24.46 (3:23)
22: Maggie Mae 24.47 (0:24)
23: Two Of Us 24.48 (4:36)
24: Maggie Mae 24.49 (1:33)
25: Teddy Boy 24.33P (3:36)
26: Teddy Boy 24.33P (3:47)
27: Two Of Us 24.48P (3:34)
28: Maggie Mae 24.49P (6:14)

Disc 3: (1:19:32)
01: The Long And Winding Road 24.50 (3:36)
02: Window, Window 24.51 (2:12)
03: Window, Window 24.52 (0:56)
04: Two Of Us 24.53 (1:09)
05: Dialogue (0:24)
06: Get Back 23.74P (1:13)
07: Get Back 23.78P (0:05)
08: Get Back 23.79P (2:35)
09: I've Got A Feeling 23.80P (0:07)
10: Help! 23.81P (0:34)
11: Two Of Us 24.54 (2:42)
12: Get Back 24.55 (0:49)
13: Get Back 24.56 (1:31)
14: Two Of Us 24.57 (1:24)
15: Her Majesty 24.58 (2:29)
16: There You Are Eddie 24.59 (4:17)
17: Every Night 24.60 (1:50)
18: Pillow For Your Head-There You Are Eddie 24.61 (5:31)
19: Pillow For Your Head 24.62 (0:47)
20: Hot As Sun 24.63 (1:35)
21: Catswalk 24.64 (0:07)
22: Two Of Us 24.65 (0:59)
23: Two Of Us 24.66 (3:45)
24: Two Of Us 24.67 (0:56)
25: Two Of Us-Hello Goodbye 24.68 (3:35)
26: Two Of Us 24.69 (4:06)
27: Two Of Us 24.70 (3:34)
28: Diggin My Potatoes 24.71 (0:49)
29: Hey Liley, Liley Ho 24.72 (0:10)
30: Rock Island Line 24.73 (1:13)
31: Improvisation 24.74 (0:14)
32: Unknown 24.75 (1:13)
33: Two Of Us 24.76 (2:07)
34: Tiger Rag 24.77 (2:11)
35: Michael Row Your Boat Ashore 24.78 (0:57)
36: Rock A Bye Baby 24.79 (0:13)
37: Singin The Blues 24.80 (2:39)
38: Knee Deep In The Blues 24.81 (0:14)
39: Dig It 24.82 (3:12)
40: Dig It 24.83 (0:45)
41: Dig It 24.84 (4:32)
42: Dig It 24.85 (6:15)

Disc 4: (57:54)
01: Tuning (1:55)
02: Get back 24.86 (2:09)
03: There You Are Eddie 24.87 (1:41)
04: Get Back 24.88 (0:27)
05: Get Back 24.89 (0:39)
06: Get Back 24.90 (3:35)
07: Get Back-Little Demon-Maybellene- (Medley) 24.91 (2:38)
08: Short Fat Fanny 24.92 (1:31)
09: Get Back 24.93 (0:15)
10: Get Back 24.94 (4:54)
11: Green Onions 24.95 (0:45)
12: Get Back 24.96 (0:52)
13: Get Back 24.97 (4:31)
14: Bad Boy 24.98 (4:27)
15: Sweet Little Sixteen 24.99 (1:47)
16: Around and Around 24.100 (1:07)
17: Almost Grown 24.101a (2:01)
18: School Day (Ring Ring Goes The Bell) 24.101b (2:48)
19: Stand By Me - Where Have You Been All My Life 24.102 (2:39)
20: Lady Madonna 24.103 (0:09)
21: Lovely Rita-Get Back 24.104 (0:12)
22: Get Back 24.105 (6:51)
23: Lonely Sea 24.106 (1:40)
24: Unknown 24.107 (3:45)
25: Ramrod 24.108 (2:02)
26: Silence (2:00)
27: Tape Rewind (0:05)
28: Unknown Playback (0:29)

Apple Studios, Savile Row, London
Producer: 
George Martin
Engineer: Glyn Johns

The bulk of the 13th day of the Get Back/Let It Be sessions was spent working on Get Back and Two Of Us, along with a number of cover versions.

The Beatles finally settled on the delicate folk-rock arrangement for Two Of Us. One of the day's takes was included on the 1996 collection Anthology 3, and an alternative one was chosen by Glyn Johns for one of the unreleased Get Back albums.
Another Anthology 3 song, Teddy Boy, was taken in part from this day's recordings. The version on the album was an edit of takes from 24 and 28 January, with the segment featuring John Lennon's barn-dance calls coming from this day. The song was also mixed by Glyn Johns for inclusion on Get Back, although it was eventually re-recorded by Paul McCartney for his 1970 debut album McCartney.

"I loved it, and I was hoping they'd finish it and do it, because I thought it was really good. But my version does go on a bit, and they're just going round and round, trying to get the chord sequence right, I suppose, and the best bit is where John Lennon gets bored - he obviously doesn't want to play it any more, and starts doing his interjections."

Glyn Johns
The Record Producers, BBC radio

Other McCartney songs attempted on this day were Every Night and Hot As Sun. He also played three versions of There You Are, Eddie, which was never released by him nor The Beatles; the song was written in December the previous year for Beatles biographer Hunter Davies, while McCartney was staying at his home in Portugal.

"I remember one tune he played for me in Portugal, which he had written on the lavatory (he rarely went there without his guitar), which was called There You Go Eddie. Just a short verse, and I don't think he ever completed it. He had discovered that my first Christian name is Edward, something I've always kept quiet."

Hunter Davies, 1985

Lennon played slide guitar on performances of both Get Back and Her Majesty, the latter lasting more than two minutes but featuring no more lyrics than the Abbey Road version. He also played Polythene Pam for the only time during the January 1969 sessions.
He also played slide on Dig It, which at this stage was a blues-rock song with ad-libbed vocals. Four versions were performed; after one came a snippet of speech used on the Let It Be album: "That was Can You Dig It by Georgie Wood, and now we'd like to do Hark The Angels Come."
Also on the album was Maggie Mae, one of two versions played on this day. This was a song from the Quarrymen era, as was a Lennon-McCartney composition, Fancy My Chances With You, which was included on the bonus Fly On The Wall disc that came with early copies of Let It Be... Naked.
George Harrison's songs barely got a look in, apart from the unreleased Window, Window, which had previously been played on 21 January. He would attempt to interest The Beatles in the song on the following two days, but it remained unreleased.

Of the cover versions performed on this day, six were by Chuck Berry. Lennon sang lead vocals on Arthur Alexander's Soldier Of Love, which The Beatles had recorded for BBC radio in 1963, and the McCartney-led version of Singing The Blues would have been a contender for the Get Back album but for technical problems with the recording and some erratic slide guitar by Lennon.

Get Back/Let It Be sessions: day 14

January 25, 1969


Disc 1: (1:19:15)
01: Dialogue (4:23)
02: Get Back 23.78P (0:05)
03: Get Back 23.79P (2:34)
04: I've Got A Feeling (fragment) 23.80P (0:07)
05: Help! (fragment-tape rewind) 23.81P (0:04)
06: Teddy Boy 24.33P (6:19)
07: Two Of Us 24.69P (3:36)
08: Dig A Pony 22.67P (4:05)
09: I've Got A Feeling 22.69P (4:45)
10: Improvisation 25.01 (1:31)
11: Improvisation 25.02 (1:47)
12: Improvisation 25.03 (1:17)
13: Unknown 25.04-25.05 (0:34)
14: Improvisation 25.06 (0:56)
15: Improvisation 25.07 (0:26)
16: Another Day 25.08 (0:57)
17: Two Of Us 25.09 (23:15)
18: Instrumental 25.10 (5:24)
19: Act Naturally 25.11 (0:38)
20: Two Of Us 25.12 (13:52)
21: I've Got A Feeling 25.13 (1:21)
22: Nashville Cat 25.14 (1:19)

Disc 2: (1:19:12)
01: Dialogue (2:39)
02: On The Road Again 25.15 (6:34)
03: Unknown 25.16 (8:56)
04: Instrumental 25.17 (8:41)
05: I Lost My Little Girl 25.18 (9:53)
06: Two Of Us 25.19 (3:54)
07: Two Of Us 25.20 (14:33)
08: Two Of Us 25.21 (3:39)
09: Two Of Us 25.22 (1:54)
10: Bye Bye Love 25.23 (1:09)
11: Two Of Us 25.24 (3:53)
12: Unknown 25.25 (3:04)
13: Two Of Us 25.24P (4:56)
14: Two Of Us 25.24P (5:27)

Disc 3: (1:18:45)
01: Dialogue (2:05)
02: Get Back 23.78P (0:05)
03: Get Back 23.79P (2:35)
04: I've Got A Feeling 23.80P (0:07)
05: Help! 23.81P (0:04)
06: Teddy Boy 24.33P (5:57)
07: Two Of Us 24.69P (3:59)
08: Dig A Pony 22.70P (3:53)
09: I've Got A Feeling 22.71P (5:34)
10: Dialogue and tuning (2:54)
11: For You Blue 25.26 (2:55)
12: For You Blue 25.27 (3:05)
13: For You Blue 25.28 (1:30)
14: For You Blue 25.29 (16:01)
15: For You Blue 25.30 (1:23)
16: For You Blue 25.31 (2:31)
17: For You Blue 25.32 (2:02)
18: For You Blue 25.33 (1:10)
19: For You Blue 25.34 (4:27)
20: For You Blue 25.35 (2:17)
21: For You Blue 25.36 (1:47)
22: For You Blue 25.37 (3:08)
23: For You Blue 25.38 (2:04)
24: For You Blue 25.34P (2:37)
25: For You Blue 25.37P (4:35)

Disc 4: (1:17:46)
01: For You Blue 25.39 (10:35)
02: For You Blue 25.40 (2:57)
03: For You Blue 25.41 (3:38)
04: For You Blue 25.42 (2:13)
05: For You Blue 25.43 (3:21)
06: Sorry I Left You Bleeding 25.44 (0:56)
07: For You Blue 25.45 (3:13)
08: For You Blue 25.46 (4:18)
09: For You Blue 25.47 (3:55)
10: For You Blue 25.46P (3:44)
11: For You Blue 25.47P (5:01)
12: For You Blue 25.48 (1:57)
13: For You Blue 25.49 (2:28)
14: For You Blue 25.50 (1:21)
15: For You Blue 25.51 (2:38)
16: For You Blue 25.52 (0:28)
17: For You Blue 25.53 (3:06)
18: For You Blue 25.53P (3:58)
19: For You Blue 25.46P (2:59)
20: For You Blue 25.46P (4:25)
21: For You Blue 25.53P (2:23)
22: Take This Hammer 25.54 (0:35)
23: For You Blue 25.46P (3:14)
24: For You Blue 25.55 (2:05)
25: Let It Be 25.56 (2:18)

Disc 5: (1:05:11)
01: Let It Be 25.57 (17:02)
02: Let It Be 25.58 (13:39)
03: Crazy Feet 25.59 (0:41)
04: Please Please Me 25.60 (0:39)
05: Let It Be 25.61 (0:59)
06: Let it Be 25.62 (1:27)
07: Let It Be 25.63 (4:03)
08: Instrumental 25.64 (7:07)
09: Mean Mr. Mustard 25.65 (3:23)
10: Let it Be 25.66 (8:30)
11: Tracks Of My Tears 25.67 (3:45)
12: Piece Of My Heart 25.68 (1:05)
13: Little Yellow Pills 25.69 (1:58)
14: Early In the Morning 25.70 (0:36)
15: Let It Be 25.71 (0:17)
Disc 6: (49:08)
01: Let It Be 25.72 (1:29)
02: Let It Be 25.73 (4:28)
03: Window, Window 25.74 (1:52)
04: I'm Talkin' About You 25.75 (0:53)
05: Let It Be 25.76 (2:04)
06: Let It Be 25.77 (0:11)
07: Instrumental 25.78 (0:17)
08: Instrumental 25.79 (0:10)
09: Let It Be 25.80 (3:31)
10: Let It Be 25.81 (4:45)
11: Let It Be 25.81P (4:29)
12: Let It Be 25.81P (5:37)
13: Martha My Dear 25.82 (1:11)
14: Let It Be 25.83 (2:02)
15: Let It Be 25.84 (2:03)
16: Let It Be 25.85 (4:17)
17: Let It Be 25.86 (2:45)
18: Well Its Eight O' Clock 25.87 (1:28)
19: Love Story 25.88 (1:15)
20: Cannonball 25.89 (0:25)
21: Shazam! 25.90 (0:16)
22: Last Train To San Francisco 25.91 (1:10)
23: Isn't It A Pity 25.92 (2:30)

Apple Studios, Savile Row, London
Producer: 
George Martin
Engineer: Glyn Johns
Billy Preston was not present on this, the 14th day of the Get Back/Let It Be sessions.

The Beatles focused on three songs, none of which were destined to be played at the rooftop concert. They were Two Of UsLet It Be and For You Blue.
One version of the latter was included on Anthology 3, and another had been selected for Glyn Johns' unreleased Get Back album. The Beatles played a total of 28 versions of it on this day, during the course of which For You Blue was worked into an assured studio recording. Indeed, one of the takes was included on the Let It Be album.
Two Of Us had been rehearsed extensively on the previous day, and this session's versions were more relaxed, almost playful at times. John Lennon and Paul McCartney both added exaggerated German, French, Scottish and Jamaican accents to some of the takes, as well as daft sound effects and a Bob Dylan impression from Lennon.
Let It Be had McCartney on piano and Lennon on bass guitar, the latter played with characteristic uncertainty. One of the day's takes featured on Anthology 3, complete with McCartney's ad-libbed vocals and alternative lyrics.
Of the other songs, perhaps the most notable was I Lost My Little Girl, the first song McCartney ever wrote. This version, however, had Lennon on lead vocals, and lasted almost 10 minutes with a two-chord rock arrangement.
As well as For You Blue, two songs by George Harrison were played. Isn't It A Pity made its debut on this day, and was performed again the following day, but was eventually held over for his All Things Must Pass album. Window, Window, meanwhile, had previously been performed on two earlier sessions, but here was led mostly by McCartney. The song was never released in Harrison's lifetime.

Also on this day, McCartney and members of the film crew did a recce on the Apple rooftop ahead of the concert which took place five days later. McCartney was joined by director Michael Lindsay-Hogg, The Beatles' assistant Mal Evans, and production runner Kevin Harrington.

The Beatles

Get Back/Let It Be sessions: day 15

January 26, 1969

 


Disc 1: (1:10:17)
01: Roll announcement (0:13)
02: Dialogue (2:14)
03: Isn't It A Pity 26.01 (2:33)
04: Windows, Windows 26.02 (2:26)
05: Let It Down 26.03 (1:15)
06: Let It Down 26.04 (0:46)
07: Octopus's Garden 26.05 (10:07)
08: Octopus's Garden 26.06 (1:45)
09: Octopus's Garden 26.07 (0:58)
10: Octopus's Garden 26.08 (1:56)
11: unknown 26.09 (0:36)
12: Octopus's Garden 26.10 (4:03)
13: Little Piece Of Leather 26.11 (0:31)
14: Two Of Us 26.12 (1:03)
15: Dig A Pony 26.13 (0:34)
16: Octopus's Garden 26.14 (1:15)
17: Octopus's Garden 26.15 (1:40)
18: Octopus's Garden 26.16 (9:00)
19: Octopus's Garden 26.1 (2:30)
20: For You Blue 25.45P (2:58)
21: For You Blue 25.45P (1:44)
22: For You Blue 25.46P (4:40)
23: For You Blue 25.46P (3:19)
24: For You Blue 25.46P (4:01)
25: Let It Be 25.81P (4:14)
26: Let It Be 25.81P (3:56)

Disc 2: (1:17:00)
01: Dialogue (0:39)
02: Let It Be 26.18 (3:45)
03: It Was So Blue 26.19 (0:40)
04: High School Confidential 26.20 (1:19)
05: Great Balls Of Fire 26.21 (2:22)
06: Don't Let The Sun Catch You Crying 26.22 (2:40)
07: Let It Be 26.23 (0:19)
08: I Left My Home In The World 26.24 (0:29)
09: I Left My Home In The World 26.25 (1:18)
10: Let It Be 26.26 (13:37)
11: Improvisation 26.27 (0:30)
12: Suicide 26.28 (0:46)
13: Let It Be 26.29 (0:58)
14: Let It Be 26.30 (2:26)
15: Let It Be 26.31 (1:12)
16: Let It Be 26.32 (2:03)
17: Let It Be 26.33 (1:42)
18: Let It Be 26.34 (3:27)
19: Let It Be 26.35 (2:34)
20: Let It Be 26.36 (1:48)
21: Let It Be 26.37 (4:32)
22: Let It Be 26.38 (4:11)
23: Let It Be 26.39 (1:33)
24: Let It Be 26.40 (1:22)
25: Let It Be 26.41 (4:33)
26: Let It Be 26.41P (3:43)
27: Dialogue (2:48)
28: Improvisation 26.42 (1:04)
29: Let It Be 26.43 (1:06)
30: Let It Be 26.44 (3:59)
31: Let It Be 26.45 (1:56)
32: Let It Be 26.46 (1:39)

Disc 3: (1:17:06)
01: Let It Be 26.47 (1:19)
02: Let It Be 26.48 (2:40)
03: Do Not Forsake Me Oh My Darling 26.49 (1:23)
04: Let It Be 26.50 (0:53)
05: You Really Got A Hold On Me 26.51 (0:22)
06: Let It Be 26.52 (0:09)
07: Let It Be 26.53 (3:54)
08: Like A Rolling Stone 26.54 (1:56)
09: Twist And Shout 26.55 (1:41)
10: Dig It 26.56 (11:57)
11: Rip It Up 26.57 (2:46)
12: Shake, Rattle And Roll 26.58 (1:44)
13: Kansas City - Miss Ann - Lawdy Miss Clawdy 26.59 (4:07)
14: Blue Suede Shoes 26.60 (2:16)
15: You Really Got A Hold On Me 26.61 (3:55)
16: The Tracks Of My Tears 26.62 (2:40)
17: Agent Double-O-Soul 26.63 (2:23)
18: S.O.S. 26.64 (1:53)
19: Rockin Pneumonia and the Boogie Woogie Flu 26.65 (0:37)
20: I'm Movin On 26.66 (2:47)
21: Improvisation 26.67 (1:21)
22: Improvisation 26.68 (16:48)
23: Improvisation 26.69 (3:52)
24: Improvisation 26.70 (3:43)

Disc 4: (1:00:24)
01: Dialogue and jamming (1:42)
02: Let It Be 26.71 (1:13)
03: Let It Be 26.72 (4:01)
04: Let It Be 26.73 (5:37)
05: Let It Be 26.74 (2:20)
06: Let It Be 26.75 (4:13)
07: Let It Be 26.76 (0:21)
08: Little Pillow Pills 26.77 (3:28)
09: Let It Be 26.75P (0:40)
10: I Told You Before 26.78 (11:35)
11: I Told You Before 26.79 (2:11)
12: I Told You Before 26.80 (12:37)
13: The Long And Winding Road 26.81 (10:26)

Disc 5: (35:01)
01: The Long And Winding Road rehearsal (0:09)
02: The Long And Winding Road 26.82 (4:40)
03: The Long And Winding Road 26.83 (3:40)
04: The Long And Winding Road 26.84 (1:45)
05: The Long And Winding Road 26.85 (7:28)
06: The Long And Winding Road 26.86a (5:14)
07: The Long And Winding Road Cha-Cha 26.86b (2:37)
08: The Long And Winding Road 26.87 (5:13)
09: The Long And Winding Road 26.88 (4:15)
Disc 6: (1:10:13)
01: The Long And Winding Road 26.89 (20:15)
02: The Long And Winding Road 26.90 (9:01)
03: The Long And Winding Road 26.91 (11:02)
04: The Long And Winding Road 26.92 (4:46)
05: The Long And Winding Road 26.92P (11:39)
06: The Long And Winding Road 26.92P (3:38)
07: Dialogue (9:52)

Apple Studios, Savile Row, London
Producer: 
George Martin
Engineer: Glyn Johns
The 15th day of the Get Back/Let It Be sessions saw The Beatles focus mainly on two songs: Let It Be and The Long And Winding Road.

This Sunday session marked the first time in almost a year that The Beatles had worked on both days of a weekend. They were joined in the studio by Linda McCartney and her daughter Heather.
George Harrison and Ringo Starr were the first to arrive, and the session began with Harrison performing some of his own songs alone on an acoustic guitar: Isn't It A PityLet It Down and the unreleased Window, Window. He also helped Starr with the composition of Octopus's Garden, part of which was included in the Let It Be film.
Billy Preston was back in the studio, following an absence on the previous day, and helped to shape the song's arrangement. Let It Be, in particular, benefited from Preston's organ playing, and by the end of the day they almost had a version suitable for release.
The session closed with more than an hour spent on The Long And Winding Road, with Paul McCartney on piano and John Lennon playing bass guitar. Although the playing was often amateurish in the beginning, towards the end the arrangement came together, and by the end of the day they had a satisfactory take. This was included on Anthology 3, and was adorned with orchestral and choral overdubs by Phil Spector for the Let It Be album.
Also on that album was a snippet of Dig It, which was part of a 12-minute take recorded on this day, and cover versions of Rip It Up, Shake, Rattle And Roll and Blue Suede Shoes were issued as a medley on Anthology 3.
Of the other songs, Suicide was written by McCartney as a teenager, and a snippet was later included on his debut album. I Told You Before was an improvised jam led by Harrison and Preston, which The Beatles returned to on the following day.


There were also cover versions of You Really Got A Hold On Me and Kansas City, the latter based on Wilbert Harrison's 1959 arrangement rather than Little Richard's. Versions of Jerry Lee Lewis' Great Ball Of Fire and High School Confidential were marred by McCartney being unable to remember the lyrics.

Get Back/Let It Be sessions: day 16

January 27, 1969


Disc 1: (1:13:39)
01: Roll announcement (0:11)
02: Dialogue (2:49)
03: Instrumental 27.01 (4:20)
04: Strawberry Fields Forever 27.02 (2:19)
05: Dialogue (11:19)
06: Old Brown Shoe 27.03 (14:23)
07: Instrumental 27.04 (7:04)
08: The Long And Winding Road 26.92P (3:46)
09: Let It Be 26.75P (4:12)
10: Don't Let Me Down 22.60P (3:51)
11: Dig It 26.56P (8:32)
12: Rip It Up 26.57P (0:30)
13: Shake, Rattle And Roll 26.58P (1:38)
14: Kansas City-Miss Ann-Lawdy Miss Clawdy 26.59P (3:57)
15: Blue Suede Shoes 26.60P (2:09)
16: You Really Got A Hold On Me 26.61P (1:19)
17: Baby Let's Play House 27.05 (1:20)

Disc 2: (1:17:57)
01: Oh! Darling 27.06 (7:46)
02: Let It Be 27.07 (3:59)
03: Let It Be 27.08 (3:13)
04: Let It Be 27.09 (2:01)
05: Let It Be 27.10 (4:02)
06: Let It Be 27.11 (3:29)
07: Let It Be 27.12 (4:09)
08: Let It Be 27.13 (4:04)
09: Let It Be 27.14 (3:54)
10: Let It Be 27.15 (1:34)
11: Let It Be 27.16 (2:35)
12: Let It Be 27.17 (3:55)
13: Let It Be 27.18 (1:42)
14: The Long And Winding Road 27.19 (17:00)
15: The Long And Winding Road 27.20 (7:19)
16: Little Demon 27.21 (1:42)
17: The Long And Winding Road 27.22 (1:41)
18: The Long And Winding Road 27.23 (3:52)

Disc 3: (1:03:57)
01: The Long And Winding Road Rehearsal (1:14)
02: The Long And Winding Road 27.24 (0:14)
03: Save The Last Dance For Me 27.25 (0:37)
04: Improvisation 27.26 (0:53)
05: Old Brown Shoe 27.27 (36:03:00)
06: Improvisation 27.28 (4:58)
07: Hi Heel Sneakers 27.29 (1:42)
08: Get Back 27.30 (1:14)
09: Improvisation 27.31 (0:21)
10: Improvisation 27.32 (6:30)
11: I Told You Before 27.33 (5:43)
12: I Told You Before 27.33 reprise (3:47)
13: Improvisation 27.34 (0:41)

Disc 4: (1:08:09)
01: Improvisation 27.34 (1:19)
02: Don't Let Me Down 27.35 (2:46)
03: Hava Nageilah 27.36 (4:12)
04: Don't Let Me Down 27.37 (5:20)
05: Don't Let Me Down 27.38 (5:46)
06: Don't Let Me Down 27.39 (3:40)
07: Don't Let Me Down 27.40 (4:20)
08: Get Back 27.41 (3:17)
09: Get Back 27.42 (2:25)
10: Get Back 27.43 (0:50)
11: Get Back 27.44 (3:12)
12: Get Back 27.45 (1:00)
13: Get Back 27.46 (4:53)
14: Get Back 27.47 (2:08)
15: Get Back 27.48 (3:20)
16: Get Back 27.49 (1:46)
17: Get Back 27.50 (3:43)
18: I've Got A Feeling 27.51 (3:20)
19: Get Back 27.52 (4:09)
20: Get Back 27.53 (4:41)
21: Get Back 27.54 (2:02)

Disc 5: (1:17:15)
01: You Are My Sunshine 27.55 (2:10)
02: Oh! Darling 27.56 (6:56)
03: Get Back 27.57 (1:04)
04: Get Back 27.58 (4:10)
05: Get Back 27.59 (1:42)
06: Get Back 27.60 (3:22)
07: Bring It On Home-Oh Darling 27.61 (0:42)
08: Oh! Darling 27.62 (1:15)
09: Get Back 27.63 (4:25)
10: Get Back 27.64 (1:19)
11: Get Back 27.65 (2:43)
12: Get Back 27.66 (5:46)
13: Get Back 27.53P (5:46)
14: Get Back 27.66P (3:54)
15: Get Back 27.63P (4:30)
16: Get Back 23.79P (3:34)
17: Get Back 27.67 (6:36)
18: Roll announcement (0:14)
19: Get Back (0:56)
20: Get Back 27.68 (9:23)
21: Get Back 27.69 (0:52)
22: Get Back 27.70 (1:26)
23: Get Back 27.71 (4:16)
24: Get Back 27.72 (0:14)

Disc 6: (1:04:29)
01: Roll announcement (0:11)
02: Get Back 27.73 (5:05)
03: Get Back 27.74 (4:19)
04: Get Back-Water Water 27.75 (2:36)
05: Take These Chains From My Heart 27.76 (3:15)
06: I've Got A Feeling 27.77 (1:07)
07: Roll announcement (0:09)
08: I've Got A Feeling 27.78 (0:56)
09: I've Got A Feeling 27.79 (1:15)
10: I've Got A Feeling 27.80 (4:26)
11: I've Got A Feeling 27.81 (3:40)
12: I've Got A Feeling 27.82 (0:35)
13: You Won't Get Me This Way-The Walk 27.83 (4:05)
14: I've Got A Feeling 27.84 (4:17)
15: I've Got A Feeling 27.85 (1:50)
16: I've Got A Feeling 27.84P (8:12)
17: Get Back 27.53P (3:40)
18: Roll announcement (0:10)
19: Dialogue (0:40)
20: Dialogue (0:21)
21: Get Back 27.63P (5:51)
22: Get Back 27.65P (6:22)
23: Get Back 27.71P (1:27)


Apple Studios, Savile Row, London
Producer: 
George Martin
Engineer: Glyn Johns
The 16th day of the Get Back/Let It Be sessions was primarily devoted to the song Get Back, although The Beatles also performed a number of other songs.

Although the group still hadn't decided whether to perform live at the end of the sessions, they knew a resolution was needed for the project as Ringo Starr was due to start filming The Magic Christian in early February 1969. Therefore they focused on the few songs on which had the most chance of being presentable in either a live situation or on celluloid.
The Beatles recorded a total of 32 takes of Get Back on this day, experimenting with different tempos and styles - including mock Japanese and German versions and alternative lyrics. One of John Lennon's ad-libs - "Sweet Loretta Fart, she thought she was a cleaner, but she was a frying pan" - was included in the warm-up to the song on the Let It Be album.
The version of Get Back which followed Lennon's comments was selected by Glyn Johns for the unreleased Get Back album. Another take was eventually judged good enough for release on vinyl, on both the single and album, with a coda recorded on 28 January used to end the former.
Let It BeThe Long And Winding RoadDon't Let Me Down and I've Got A Feeling were all performed numerous times. Apart from Don't Let Me Down, they were included on the Let It Be album, although not recordings made on this day. All the arrangements were mostly in place, although some takes involved slight lyrical or musical variations.
Oh! Darling was also performed four times, one of which lasted nearly seven minutes and featured Lennon and Paul McCartney bantering in high spirits. An edited version of this take was included on Anthology 3, complete with Lennon's announcement that Yoko Ono's divorce had been finalised.
One new song to be introduced on this day was George Harrison's Old Brown Shoe, which would become the b-side to The Ballad Of John And Yoko later in 1969. The first version on this day featured just vocals and piano, but a second saw the rest of the band join in. Work on Old Brown Shoe continued the following day, although the released version was recorded at Abbey Road.

Other original songs included McCartney singing a version of Strawberry Fields Forever, and more performances of I Told You Before, a Beatles jam first played the previous day, featuring Billy Preston to the fore.

Get Back/Let It Be sessions: day 17

January 28, 1969


Disc 1: (1:17:47)
01: Roll Announcement (0:06)
02: Slate Announcement (0:04)
03: For You Blue 25.46P (4:08)
04: Get Back 27.63P (2:51)
05: Get Back 27.71P (3:23)
06: Get Back 27.72P (3:45)
07: The Walk 27.83P (1:09)
08: I've Got A Feeling 27.84P (8:50)
09: Dialog And Tuning (5:16)
10: Shazam! 28.01 (2:23)
11: Improvision 28.02 (0:32)
12: River Rhine - Long And Winding Road 28.03 (5:21)
13: I've Got A Feeling 28.04 (17:00)
14: I've Got A Feeling 28.05 (3:19)
15: I've Got A Feeling 28.06 (19:40)

Disc 2: (1:11:44)
01: I've Got A Feeling 28.07 (7:26)
02: I've Got A Feeling 28.08 (4:48)
03: I've Got A Feeling 28.09 (3:22)
04: I've Got A Feeling 28.10 (2:19)
05: I've Got A Feeling 28.11 (1:46)
06: I've Got A Feeling 28.12 (1:18)
07: Rainy Day Women #'s 12 & 35 28.13 (1:12)
08: I've Got A Feeling 28.14 (13:43)
09: I've Got A Feeling 28.15 (2:30)
10: The Inner Light 28.16 (0:34)
11: I've Got A Feeling 28.17 (9:41)
12: Blue Yodel No. 1 (T for Texas) 28.18 (0:15)
13: Tea For Two 28.19 (0:23)
14: Dig It 28.20 (8:13)
15: I've Got A Feeling 28.21 (5:37)
16: I've Got A Feeling 28.22 (1:54)
17: On The Road To Marrakesh 28.23 (3:50)
18: On The Road To Marrakesh 28.24 (2:53)

Disc 3: (1:16:19)
01: Dig A Pony 28.25 (2:21)
02: Dig A Pony 28.26 (3:55)
03: Dig A Pony 28.27 (3:31)
04: Roll Announcement (0:19)
05: I Will Always Look For You 28.28 (2:56)
06: Dig A Pony 28.29 (5:02)
07: Dig A Pony 28.30 (0:37)
08: Dig A Pony 28.31 (2:49)
09: Dig A Pony 28.32 (6:20)
10: Dig A Pony 28.33 (0:49)
11: Dig A Pony 28.34 (2:38)
12: Dig A Pony 28.35 (2:44)
13: Dig A Pony 28.36 (0:39)
14: Dig A Pony 28.37 (4:02)
15: Get Back 28.38 (5:24)
16: Get Back 28.39 (0:58)
17: Love Me Do 28.40 (2:42)
18: Dig A Pony 28.41 (0:15)
19: Teddy Boy 28.42 (0:51)
20: Get Back 28.43 (4:24)
21: Don't Let Me Down 28.44 (2:06)
22: Don't Let Me Down 28.45 (3:44)
23: I've Got A Feeling 28.46 (4:08)
24: Don't Let Me Down 28.47 (3:00)
25: Don't Let Me Down 28.48 (3:45)
26: I've Got A Feeling 28.49 (1:32)
27: One After 909 28.50 (4:48)

Disc 4: (1:18:39)
01: I've Got A Feeling 28.51 (4:07)
02: One After 909 28.52 (1:35)
03: One After 909 28.53 (3:18)
04: One After 909 28.54 (2:26)
05: Old Brown Shoe 28.55 (9:47)
06: Old Brown Shoe 28.56 (4:31)
07: Old Brown Shoe 28.57 (3:58)
08: Old Brown Shoe 28.58 (2:51)
09: Old Brown Shoe 28.59 (2:48)
10: Old Brown Shoe 28.60 (16:41)
11: Old Brown Shoe 28.61 (5:02)
12: Improvisation 28.62 (3:10)
13: Old Brown Shoe 28.63 (2:18)
14: I Want You (She's So Heavy) 28.64 (3:52)
15: I Want You (She's So Heavy) 28.65 (5:53)
16: Unless He Has A Song 28.66 (3:50)
17: Sticks And Stones 28.67 (2:32)

Disc 5: (1:00:43)
01: Dialogue (3:31)
02: Something 28.68 (0:51)
03: Something 28.69 (3:27)
04: Something 28.70 (15:32)
05: Something 28.71 (4:18)
06: Something 28.72 (9:15)
07: Get Back 28.73 (3:12)
08: Get Back 28.74 (1:28)
09: Get Back 28.75 (2:05)
10: Get Back 28.76 (1:19)
11: Bo Diddley 28.77 (2:19)
12: Two Of Us 28.78 (2:37)
13: Two Of Us 28.79 (4:06)
14: Two Of Us 28.80 (4:32)
15: Two Of Us 28.81 (2:11)

Disc 6: (57:19)
01: Two Of Us 28.82 (3:52)
02: Teddy Boy 28.83 (9:20)
03: All Things Must Pass 28.84 (0:59)
04: All Things Must Pass 28.85 (1:54)
05: Dialogue (2:20)
06: All Things Must Pass 28.86 (4:30)
07: All Things Must Pass 28.87 (5:05)
08: How Do You Tell Someone 28.88 (2:19)
09: Greasepaint On Your Face 28.89 (1:35)
10: Positively 4th Street 28.90 (0:08)
11: Positively 4th Street 28.91 (1:50)
12: I Want You (She's So Heavy) 28.92 (14:21)
13: I Want You (She's So Heavy) 28.93 (9:06)


Apple Studios, Savile Row, London
Producer: 
George Martin
Engineer: Glyn Johns
This was the 17th day of the Get Back/Let It Be sessions, and saw The Beatles further refine most of the songs which would end up on the Let It Be album.

The first song to receive significant attention was I've Got A Feeling, one take of which featured a three-chord coda lasting a full 15 minutes, and others which had John Lennon on lead vocals.
The single version of Don't Let Me Down was recorded on this day, although further backing vocals were later added at Abbey Road prior to its release. Also taped during this session were seven versions of Get Back, the coda from one of which was used on the single.
George Harrison had introduced Old Brown Shoe during the previous day's session. It had further work on this day, and after one of the takes The Beatles and Preston began experimenting with a stylophone. This is The Beatles' only known use of the instrument popularised by Rolf Harris.
Another Harrisong, the future chart-topping single Something, made its debut during this session. Five versions were taped of the song, which still lacked some lyrics and final chords, and Harrison can be heard on the tapes asking for help finishing it off. "Just say what comes into your head each time," Lennon tells him. "'Attracts me like a cauliflower'. Until you get the word."
Although Lennon and Paul McCartney seemed willing to help Harrison with the song, there is less enthusiasm for All Things Must Pass, which had last been played on 8 January. The Beatles performed it one more time the following day, before giving up on it completely.
John Lennon introduced a new song, I Want You (She's So Heavy), which would eventually be recorded for Abbey Road. The first of four versions from this day was instrumental, and featured the main guitar riffs that made it to the final recording, although it was little more than a jam at this stage.
Two versions of Teddy Boy were performed, one of which was combined with a take from 24 January and released on 1996's Anthology 3. Similarly, Lennon revived Child Of Nature - here known as On The Road To Marrakesh - although it was clear that the song wasn't working for The Beatles.


The group also delved back into their old songbooks, with mixed results. A version of The Inner Light lasted for less than a minute, while a slow arrangement of Love Me Do failed to ignite any sparks. More successful was One After 909, which was performed on the Apple rooftop on 30 January.

Get Back/Let It Be sessions: day 18

January 29, 1969


Disc 1: (1:19:32)
01: Roll Announcement (0:31)
02: Dialogue (14:58)
03: Dialogue (6:22)
04: Singing The Blues 29.01 (7:56)
05: Singing The Blues 29.02 (6:12)
06: Rule, Brittania 29.03 (3:44)
07: Get Back 27.63P (0:20)
08: I Walk The Line 29.04 (0:53)
09: Singing The Blues 29.05 (3:27)
10: Dialogue (13:46)
11: Singing The Blues 29.06 (2:41)
12: Dialogue (18:42)

Disc 2: (1:08:57)
01: Dialogue (2:53)
02: Dig A Pony 29.07 (4:34)
03: I've Got A Feeling 29.08 (5:21)
04: Don't Let Me Down 29.09 (7:17)
05: Get Back 29.10 (3:57)
06: One After 909 29.11 (4:59)
07: She Came In Through The Bathroom Window 29.12 (3:50)
08: She Came In Through The Bathroom Window 29.13 (2:34)
09: She Came In Through The Bathroom Window 29.14 (3:08)
10: Two Of Us 29.15 (3:43)
11: Also 29.16 (3:08)
12: Let It Be 29.17 (4:50)
13: The Long And Winding Road 29.18 (5:10)
14: The Long And Winding Road 29.19 (5:10)
15: For You Blue 29.20 (8:23)

Disc 3: (55:58)
01: For You Blue 29.20 continued (1:58)
02: For You Blue 29.21 (2:40)
03: For You Blue 29.22 (1:14)
04: Something 29.23 (2:21)
05: All Things Must Pass 29.24 (2:29)
06: All Things Must Pass 29.25 (2:26)
07: All Things Must Pass 29.26 (3:32)
08: All Things Must Pass 29.27 (4:53)
09: Let It Down 29.28 (5:47)
10: Let It Down 29.29 (3:33)
11: Let It Down 29.30 (2:52)
12: Get Back 27.63P (0:34)
13: Let It Down 29.31 (1:44)
14: Singing The Blues 29.32 (1:04)
15: Teddy Boy 24.33P (5:23)
16: I Want You (She's So Heavy) 29.33 (5:45)
17: Something 29.34 (3:23)
18: Sexy Sadie 29.35 (1:52)
19: Old Brown Shoe 29.36 (1:00)
20: I Want You (She's So Heavy) 29.37 (1:09)
21: She Gets Heavy 29.38 (0:19)

Disc 4: (1:06:57)
01: Dialogue (0:22)
02: Dig It 29.39 (6:58)
03: Besame Mucho 29.40 (2:27)
04: Three Cool Cats 29.41 (2:35)
05: Sorry Miss Molly 29.42 (0:11)
06: I Got To Find My Baby 29.43 (0:49)
07: Some Other Guy 29.44 (0:21)
08: One After 909 29.45 (4:08)
09: Honky Tonk 29.46 (2:04)
10: One After 909 29.47 (3:08)
11: Vacation Time 29.48 (1:14)
12: Cannonball - Not Fade Away - Hey Little Girl 29.49 (4:30)
13: Maybe Baby 29.50 (2:32)
14: Peggy Sue Got Married - Thinking Of Linking 29.51 (3:23)
15: Crying, Waiting, Hoping 29.52 (2:41)
16: Mailman, Bring Me No More Blues 29.53 (2:21)
17: Teddy Boy 29.54 (16:59)
18: Bring Your Own Band 29.55 (0:29)
19: Lotta Lovin' 29.56 (1:02)
20: Two Of Us 29.57 (1:39)
21: Two Of Us 29.58 (7:04)

Apple Studios, Savile Row, London
Producer: 
George Martin
Engineer: Glyn Johns
The 18th day of the Get Back/Let It Be sessions saw The Beatles finally decide to perform a concert the following day on the roof of their Apple headquarters.

Each of the five key songs played on the rooftop - Get BackDon't Let Me DownI've Got A FeelingOne After 909 and Dig A Pony - was performed once during this session.
Instead, they spent much of the day working on other songs. These included versions of Two Of UsThe Long And Winding Road and Let It Be, plus others which didn't make it to the Let It Be album.
The Beatles tackled a number of George Harrison's songs, perhaps hoping that one would be suitable for inclusion in the film. The album version of For You Blue had been taped on 25 January, but three more takes were performed on this day. Also played were SomethingAll Things Must PassLet It Down and Old Brown Shoe, although none sounded like polished versions ready for release.
Also needing work was I Want You (She's So Heavy), destined for inclusion on Abbey Road. The Beatles and Billy Preston had first jammed the song on the previous day, and evidently thought it worth continuing with.
Also returned to was Dig It, although the album version was taken from 26 January. This had Lennon singing a list of some of the key songs played during the sessions, most of which made it to the Let It Be album.
Come on and dig it... dig it every night and day... dig it any time of day. You can dig it for breakfast, dig it for your tea. You can dig it in the morning, dig it for dinner, any day... Don't Let Me Down, Get Back, I've Got A Feeling, Two Of Us, All I Want Is You, Teddy Boy, One After 909, All Things Must Pass, Dig It, Let It Be, The Long And Winding Road, For You Blue, Maxwell's Silver Hammer...
Dig It
The final part of the session was mostly devoted to cover versions. Among them was Buddy Holly's Mailman, Bring Me No More Blues, which was heavily edited and included on Anthology 3. The Beatles also played Besame Mucho, as seen in the Let It Be film.

The day ended, however, with a return to Teddy Boy and Two Of UsPaul McCartney aside, the group's enthusiasm for playing the songs was noticeably waning by this stage.

The Beatles’ rooftop concert (Apple building)

January 30, 1969


Disc 1: (1:02:01)
01: Roll Announcement (0:17)
02: Slate Announcement (0:06)
03: Dialogue (0:12)
04: Roll Announcement (0:12)
05: Slate Announcement (1:00)
06: Get Back 30.01 (2:55)
07: Get Back 30.02 (3:37)
08: Dialogue (0:21)
09: I Want You (She's So Heavy) 30.03 (0:54)
10: Dialogue (0:29)
11: Take Announcement (0:04)
12: Get Back 30.04 (3:30)
13: Don't Let Me Down 30.05 (3:20)
14: I've Got A Feeling 30.06 (5:13)
15: One After 909 30.07 (0:16)
16: One After 909 30.08 (2:46)
17: Danny Boy 30.09 (0:43)
18: Dig A Pony 30.10 (1:18)
19: Dig A Pony 30.11 (5:11)
20: God Save The Queen 30.12 (0:51)
21: Warmup (1:51)
22: I've Got A Feeling 30.13 (3:33)
23: A Pretty Girl Is Like A Melody 30.14 (0:08)
24: Get Back 30.15 (0:13)
25: Don't Let Me Down 30.16 (3:21)
26: Get Back 30.17 (3:42)
27: Roll Announcement (0:11)
28: God Save The Queen 30.12P (2:33)
29: I've Got A Feeling 30.13P (3:33)
30: A Pretty Girl Is Like A Melody 30.14P (0:07)
31: Get Back 30.15P (0:16)
32: Don't Let Me Down 30.16P (3:18)
33: Get Back 30.17P (6:00)

Disc 2: (45:55)
01: Roll (0:17)
02: Slate (0:06)
03: Dialogue (0:12)
04: Roll (0:12)
05: Slate (1:00)
06: Get Back (2:55)
07: Get Back (3:37)
08: Dialogue (0:21)
09: I Want You (She's So Heavy) (0:54)
10: Dialogue (0:29)
11: Take (0:04)
12: Get Back - Stereo (3:29)
13: Don't Let Me Down - Stereo (3:19)
14: I've Got A Feeling - Stereo (5:12)
15: One After 909 (0:16)
16: One After 909 - Stereo (2:45)
17: Danny Boy - Stereo (0:43)
18: Dig A Pony (1:18)
19: Dig A Pony - Stereo (5:09)
20: God Save The Queen (0:51)
21: Warmup (1:51)
22: I've Got A Feeling - parts Stereo (3:32)
23: A Pretty Girl Is Like A Melody (0:08)
24: Get Back (0:13)
25: Don't Let Me Down Part Stereo (3:21)
26: Get Back - Stereo (3:41)

Apple Studios, Savile Row, London
Producer: 
George Martin
Engineer: Glyn Johns
The Beatles, with Billy Preston, gave their final live performance atop the Apple building at 3 Savile Row, London, in what became the climax of their Let It Be film.

We went on the roof in order to resolve the live concert idea, because it was much simpler than going anywhere else; also nobody had ever done that, so it would be interesting to see what happened when we started playing up there. It was a nice little social study.

We set up a camera in the Apple reception area, behind a window so nobody could see it, and we filmed people coming in. The police and everybody came in saying, 'You can't do that! You've got to stop.'

George Harrison
Anthology

30 January 1969 in London was a cold day, and a bitter wind was blowing on the rooftop by midday. To cope with the weather, John Lennon borrowed Yoko Ono's fur coat, and Ringo Starr wore his wife Maureen Starkey's red mac.

There was a plan to play live somewhere. We were wondering where we could go - 'Oh, the Palladium or the Sahara.' But we would have had to take all the stuff, so we decided, 'Let's get up on the roof.' We had Mal and Neil set the equipment up on the roof, and we did those tracks. I remember it was cold and windy and damp, but all the people looking out from offices were really enjoying it.

Ringo Starr
Anthology

The 42-minute show was recorded onto two eight-track machines in the basement of Apple, by George Martin, engineer Glyn Johns and tape operator Alan Parsons. The tracks were filled with the following: Paul McCartney, vocals; John Lennon's and George Harrison's vocals; Billy Preston's organ; McCartney's bass guitar; a sync track for the film crew; Starr's drums; Lennon's guitar; Harrison's guitar.

That was one of the greatest and most exciting days of my life. To see The Beatles playing together and getting an instant feedback from the people around them, five cameras on the roof, cameras across the road, in the road, it was just unbelievable.

Alan Parsons
The Complete Beatles Recording Sessions, Mark Lewisohn

The songs performed on the roof:
Brief, incomplete and off-the-cuff versions of I Want You (She's So Heavy), God Save The Queen and A Pretty Girl Is Like A Melody were fooled around with in between takes - as was Danny Boy, which was included in the film and on the album. None of these were serious group efforts, and one - the group and Preston performing God Save The Queen - was incomplete as it coincided with Alan Parsons changing tapes.

The Beatles' rooftop show began at around midday. The timing coincided with the lunch hour of many nearby workplaces, which led to crowds quickly forming. Although few people could see them, crowds gathered in the streets below to hear The Beatles play.

There were people hanging off balconies and out of every office window all around. The police were knocking on the door - George Martin went white! We really wanted to stop the traffic, we wanted to blast out the entire West End...

Dave Harries, engineer
The Complete Beatles Recording Sessions, Mark Lewisohn

Traffic in Savile Row and neighbouring streets came to a halt, until police from the nearby West End Central police station, further up Savile Row, entered Apple and ordered the group to stop playing.
It was good fun, actually. We had to set the mikes up and get a show together. I remember seeing Vicki Wickham of Ready, Steady, Go! (there's a name to conjure with) on the opposite roof, for some reason, with the street between us. She and a couple of friends sat there, and then the secretaries from the lawyers' offices next door came out on their roof.

We decided to go through all the stuff we'd been rehearsing and record it. If we got a good take on it then that would be the recording; if not, we'd use one of the earlier takes that we'd done downstairs in the basement. It was really good fun because it was outdoors, which was unusual for us. We hadn't played outdoors for a long time.

It was a very strange location because there was no audience except for Vicki Wickham and a few others. So we were playing virtually to nothing - to the sky, which was quite nice. They filmed downstairs in the street - and there were a lot of city gents looking up: 'What's that noise?'

Paul McCartney
Anthology


The Beatles began with a rehearsal of Get Back while the film cameras were being set up. At the end it was applauded by the spectators on the roof. In response, Paul McCartney mumbled something about cricketer Ted Dexter, and John Lennon announced: "We've had a request from Martin Luther."


Another version of Get Back followed. An edit of these two versions was included in the Let It Be film. Afterwards Lennon said: "We've had a request for Daisy, Morris and Tommy."
The third song was Don't Let Me Down, as featured in the Let It Be film. Afterwards The Beatles went straight into I've Got A Feeling, which was used in both the film and the album. At the end of the song Lennon can be heard saying: "Oh my soul, so hard."
One After 909 was also used in the Let It Be film and album. At the end of it Lennon broke out into a brief impromptu rendition of Conway Twitty's 1959 hit Danny Boy.
The sixth song The Beatles played was Dig A Pony. A short rehearsal was played first, with Lennon asking for the lyrics. They then performed the song properly, with a production runner on the film, Kevin Harrington, kneeling in front of Lennon holding a clipboard bearing the lyrics. George Harrison, too, briefly knelt next to Harrington.
Dig A Pony began with a false start. In the film, Ringo Starr can be seen putting his cigarette down and crying out 'Hold it!' This, and the full version that followed, were both included in the album and film, although on the LP the 'All I want is..." refrain which opened and closed the song were later cut by Phil Spector.
George Harrison joined Lennon and McCartney on vocals for the excised lines from Dig A Pony. He also contributed minor backing vocals to Don't Let Me Down and I've Got A Feeling.
As Alan Parsons changed the recording tapes in Apple's basement studio, The Beatles and Billy Preston performed an off-the-cuff version of God Save The Queen. This was never used; nor were second versions of I've Got A Feeling and Don't Let Me Down.
The final full song was Get Back, although The Beatles nearly stopped performing when the police arrived on the roof. The officers demanded that Mal Evans turn off the group's Fender Twin amplifiers. He complied, but Harrison immediately turned his back on.
Evans realised his mistake and turned Lennon's back on too. The amplifiers took several seconds to start again, but The Beatles managed to continue long enough to see the song through to the end.
In the end it started to filter up from Mal that the police were complaining. We said, 'We're not stopping.' He said, The police are going to arrest you.' 'Good end to the film. Let them do it. Great! That's an end: "Beatles Busted on Rooftop Gig".'

We kept going to the bitter end and, as I say, it was quite enjoyable. I had my little Hofner bass - very light, very enjoyable to play. In the end the policeman, Number 503 of the Greater Westminster Council, made his way round the back: 'You have to stop!' We said, 'Make him pull us off. This is a demo, man!'

I think they pulled the plug, and that was the end of the film.

Paul McCartney
Anthology

As a climax it could scarcely be bettered, with McCartney brilliantly ad-libbing, "You've been playing on the roofs again, and that's no good, and you know your Mummy doesn't like that... she gets angry... she's gonna have you arrested! Get back!"
The police presence ensured that The Beatles would play no more on the roof. The concert over, McCartney thanked Starr's wife Maureen for her enthusiastic cheering with a simple "Thanks Mo".

I always feel let down about the police. Someone in the neighbourhood called the police, and when they came up I was playing away and I thought, 'Oh great! I hope they drag me off.' I wanted the cops to drag me off - 'Get off those drums!' - because we were being filmed and it would have looked really great, kicking the cymbals and everything. Well, they didn't, of course; they just came bumbling in: 'You've got to turn that sound down.' It could have been fabulous.

Ringo Starr
Anthology

Then, of course, there was John Lennon's immortal closing quote: "I'd like to say thank you on behalf of the group and ourselves, and I hope we passed the audition." Both these comments were used at the end of Get Back on the Let It Be album, although the version of the song was not from the rooftop performance.

Around half of the performance was used in the Let It Be film. Furthermore, edits of I've Got A Feeling, One After 909 and Dig A Pony all featured on the Let It Be album.
The final Get Back take was included in the Let It Be film, and appeared on Anthology 3 in 1996.

An edit of the two Don't Let Me Down takes was included on 2003's Let It Be... Naked, due to John Lennon getting the vocals wrong at different points in both. That album also contained an edit of the rooftop performance of I've Got A Feeling and another version, recorded on another date.

Get Back/Let It Be sessions: day 20

January 31, 1969


Disc 1: (1:16:39)
01: Roll Announcement (0:12)
02: Two Of Us 31.01 (2:00)
03: Unknown 31.02 (0:38)
04: Hey Good Lookin' 31.03 (0:56)
05: Take This Hammer (medley) 31.04 (9:02)
06: Two Of Us (10A) 31.05 (0:53)
07: Two Of Us (10B) 31.06 (3:13)
08: Two Of Us 31.07 (0:23)
09: Two Of Us 31.08 (0:21)
10: Two Of Us 31.09 (3:04)
11: Step Inside Love 31.10 (3:07)
12: Friendship 31.11 (0:40)
13: Tales Of Frankie Rabbit 31.12 (1:05)
14: Two Of Us (11) 31.13 (3:48)
15: Deed I Do 31.14 (2:20)
16: Two Of Us (12) 31.15 (3:58)
17: I Got Stung 31.16 (0:58)
18: Step Inside Love 31.17 (0:14)
19: Let It Be 31.18 (0:41)
20: Let It Be 31.19 (0:58)
21: The Long And Winding Road 31.20 (1:55)
22: Let It Be 31.21 (0:42)
23: The Long And Winding Road 31.22 (22:31)
24: The Long And Winding Road (13A) 31.23 (0:50)
25: The Long And Winding Road (13B) 31.24 (3:51)
26: The Long And Winding Road 31.25 (1:07)
27: The Long And Winding Road (14) 31.26 (3:17)
28: The Long And Winding Road (15A) 31.27 (0:18)
29: The Long And Winding Road (15B) 31.28 (3:37)

Disc 2: (1:13:19)
01: The Long And Winding Road 31.29 (2:40)
02: The Long And Winding Road (16A) 31.30 (0:10)
03: The Long And Winding Road (16B) 31.31 (0:44)
04: The Long And Winding Road (16C) 31.32 (3:37)
05: The Long And Winding Road (16D) 31.33 (4:45)
06: Lady Madonna 31.34 (3:47)
07: The Long And Winding Road 31.35 (2:14)
08: The Long And Winding Road (17A) 31.36 (2:51)
09: The Long And Winding Road (17B) 31.37 (0:17)
10: The Long And Winding Road 31.38 (0:18)
11: The Long And Winding Road (18) 31.39 (5:38)
12: The Long And Winding Road (19) 31.40 (4:29)
13: I Want You (She's So Heavy) 31.41 (5:30)
14: Let It Be 31.42 (6:34)
15: Let It Be (20A) 31.43 (1:28)
16: Let It Be (20B) 31.44 (0:08)
17: Let It Be (20C) 31.45 (4:33)
18: Build Me Up Buttercup 31.46 (0:40)
19: Let It Be 31.47 (1:48)
20: Let It Be (21) 31.48 (3:42)
21: Let It Be (22) 31.49 (5:12)
22: Let It Be (23) 31.50 (4:18)
23: Let's Have A Party 31.51a (0:26)
24: Let's Have A Party 31.51b (1:21)
25: Let It Be 31.49P (6:09)

Disc 3: (48:39)
01: Dialogue (5:25)
02: Instrumental 31.52 (1:03)
03: Let It Be 31.53 (2:58)
04: Let It Be 31.54 (3:45)
05: Roll Announcement (0:25)
06: Let It Be 31.55 (1:03)
07: Let It Be 31.56 (4:42)
08: Let It Be 31.57 (1:04)
09: Let It Be - 12th Street Rag 31.58 (0:18)
10: Let It Be 31.59 (4:24)
11: Oh! Darling 31.60 (3:15)
12: Oh! Darling 31.61a (2:43)
13: Oh! Darling 31.61b (0:49)
14: Unknown 31.62 (2:43)
15: Let It Be 31.63 (5:37)
16: Let It Be (27A) 31.64 (4:23)
17: Let It Be (27B) 31.65 (4:02)

Apple Studios, Savile Row, London
Producer: 
George Martin
Engineer: Glyn Johns
This was the 20th and final day of the Get Back/Let It Be sessions, and saw The Beatles perform the songs which had been judged unsuitable for the previous day's rooftop concert.

The main purpose was to allow the film crew to capture satisfactory versions of the songs. Primary among them were Let It BeThe Long And Winding Road and Two Of Us.
A performance of Two Of Us was included as the opening track on the Let It Be album. The Beatles completed the song early on in the session, leaving them with time to mess around in the studio. Among the performances were numerous golden oldies, and a version of Step Inside Love, which Paul McCartney had given to Cilla Black the year before.
Various other songs were also performed during the day, including a version of Lady Madonna featuring the lines "Lord and lady docker, in your private yacht/All the people wonder why you have such a lot". McCartney also sang on I Want You (She's So Heavy), which The Beatles had played earlier in week and were clearly keen to work on further.
Most of the takes of The Long And Winding Road were recorded after a lunchtime break. Among them was the version included on the 2003 album Let It Be... Naked. The song Let It Be proved slightly more troublesome, with The Beatles recording a total of 22 takes, beginning with a skiffle-style one with John Lennon on lead vocals, singing the words to a different melody.
Patience began to wear thin during this part of the session, with Lennon audibly bored and interjecting mischievous lines such as "And in my hour of darkness she is standing left in front of me, squeaking turds of whisky over me". McCartney, too, changed some of the lyrics, including a reference to "Brother Malcolm" (presumably Mal Evans), and changing "times of trouble" to "times of heartache".
The group did eventually record a take which - with overdubs recorded at a later date - was used on both the single and album. This was the penultimate take of the day; an edit of this and the final take was used in the Let It Be film.



So That's All Folks!


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