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Updated list (04/ 05/
05):
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JANUARY 1969
To view according to song type
click here
Day by Day reference according to A/B Road Discs
Twickenham Film Studios.
Thursday January 2, 1969 (A/B Road Disc 1)
Don’t Let me Down-Jan. 2, 1969-John’s
first run through on the first day of filming
Dig A Pony-Jan. 2, 1969-As with “Don’t
Let Me Down”, first run through by John
Don't let Me Down-Jan. 2, 1969-Demo sung
by John and George during first day of recording. It starts as an unknown song
by
John titled “Everybody got song”, and then it goes straight into “Don’t Let Me
Down”.
Let it Down-Jan. 2, 1969-George’s demo,
which towards the end, he changes it and sings “Don’t let Me Down” for one line.
Jan. 2nd Improvisation #1-Jan. 2, 1969-a
not too inspiring short improvisation
Brown eyed Handsome man-Jan. 2, 1969-The
first cover version recorded was a short take of this Chuck Berry classic
I’ve got a feeling-Jan. 2, 1969-John
singing the middle “everybody had a hard year” section only
A Case of The Blues-Jan. 2, 1969-an off
mike, short run through of this Lennon original, of which a demo, circa 1968
exists. (2.12)
On The Road to Marrakesh-Jan. 2,
1969-John & George singing this song which was written India, and would later
become
“Jealous Guy” on John’s Imagine album
I Shall be Released-Jan 2, 1969-George
covering the first of many Dylan songs, with John’s backing vocal.
Sun King-Jan 2, 1969-working out the
chords for Sun King, which at this point was most likely just a guitar riff.
Don’t Let Me Down -Jan 2, 1969-This take
is based on the “Sun King” riff which John was just working on in the previous
take. Very different feel and tempo.
Don’t Let Me Down -Jan 2, 1969-In this
take, towards the end, Paul changes the words to, “Don’t let Him Down”. John
sings it this way once,
and then changes it back by saying, “No, don’t let me down”.
The Teacher was a-lookin'-Jan. 2,
1969-Paul starts singing this song, which last one minute, with George singing,
“go Johnny, go go go”.
Basically just a throw-a-way take of this oldie.
Spoken segment:The
Beatles discuss how to record at Twickenham, They discuss getting a PA, and
George says, “I don’t think it is a very acoustically good place, it is too echoey”.
I Got A Feeling -Jan 2, 1969-first try at
this one, as Paul is teaching the others the chords, John’s middle section has
not been added to the song at this point. (2.26)
Spoken segment:I
Got A Feeling -Jan 2, 1969-after some rehearsal John says,
“I’ve got
something to do at the end that makes it interesting”. Paul then says,
“everybody had a hard year”. John says,
“you’re the guitarist so..Tell him how
you did that bit you were doing”.Paul says,
“O.k. John” and they
begin working on the descending break in the song.
Speak To Me-Jan. 2nd, 1969-Sung by George
in between the "I Got A Feeling" rehearsal on this day. George, unfortunately is
off mike on this take.
The song is a cover version of the lead off song from Jackie Lomax's album.
(2.33)
I Got A Feeling -Jan 2, 1969-An almost
complete take, but John's vocal is off mike. The lead guitar is quite different
in this take. (2.35)
Spoken segment:-Jan
2, 1969-as a take of “I got a feeling” breaks down, John says, “I got a hard
on”. Paul laughs, and says,
“Everybody’s got a hard on, except for me and my monkey”, and John sings a few
lines of “everybody’s got a hard on”.
Quinn The Eskimo-Jan. 2, 1969-A few lines
of this Dylan song sung by George off mike, but Paul joins in, before the take
quickly breaks down
Thursday January 2, 1969 (A/B Road Disc
2)
I Got A Feeling -Jan 2, 1969-After
rehearsing this song, George suggest that it may be better to learn the same
amount of some other songs and
then return to this song. Paul & John agree, and after this full take, and a bit
more rehearsing, they move on. This take opens with Paul saying,
“sing it to me
children”. (2.46)
Sun King/Don’t Let Me Down -Jan 2,
1969-This take is again based on the Sun King riff, and is a lovely take, but
unfortunately breaks down (2.49)
Don’t Let Me Down -Jan 2, 1969-this take
is John demonstrating to others the chords and song arrangement. A very nice
complete take. (2.50)
Spoken
segment:Don’t Let Me Down -Jan 2, 1969-Paul attempts to sing it along
with John. The take ends shortly, and Paul suggests the song should have a
piano,
and they discuss who will be on bass and guitar.The suggestion is made that they
get Nicky Hopkins. (2.51-2.53)
Don’t Let Me Down -Jan 2, 1969-After the
discussion, another take, this with Ringo on Tambourine.The song breaks down a
number of times as
John & Paul are still working out the words and arrangement. (2.53)
Well…All Right-Jan. 2, 1969-at 6:35 p.m.,
according to the slate call, George begins singing this Buddy Holly song. The
first Buddy Holly song covered in the sessions.(2.60)
All Things Must Pass-Jan. 2, 1969-just
George and his guitar singing his original composition (2.62)
Two of Us-Jan. 2, 1969-Just Paul on
vocals on this take, as he teaches the chords to the rest. The tempo is faster
in this take. After the take, Paul spends the rest of the day teaching the
others the arrangement and chords for the song. (2.63)
Two of Us-Jan. 2, 1969-another complete
take of Two of Us was performed on Jan. 2nd. They have slowed the tempo down at
this point, but they have yet to work out the ending. (2.73)
Friday
January 3, 1969 (A/B Road Disc 1)
The Long & Winding Road-Jan. 3,
1969-First time played at these sessions, unfortunately, the tape only captures
the last few seconds of this take, which is Paul at the Piano early morning.
(3.01)
Oh Darling Jan. 3, 1969-following, “The
Long & Winding Road” , Paul begins playing ‘Oh Darling” on the piano,
unfortunately he was off the vocal mike, and also the tape only captures about
55 seconds of this. This too is the first time played at these sessions for this
song. (3.02)
Maxwell Silver Hammer-Jan. 3rd-Paul at
the piano, has hardly any of the lyrics yet (3.05)
Adagio for Strings/Tea For Two
Cha-Cha/Chopsticks/Whole Lotta Shakin'/Let it Be-Jan. 3rd-Paul early in
the morning of the 3rd, waiting for the others to arrive. I've grouped all these
songs together, because this segment should be listened to all the way through.
At the end of this segment, you can hear George arrive, and Paul says,
"John is
late again". Reminds you of the bootleg "Piano Tape", but of course that is
Post-Beatles, and this is from the Get Back sessions. (3.06-3.16)
Please Mrs. Henery/Ramblin' Woman/"Is it
Discovery":Jan. 3rd-Goerge on acoustic guitar going through some more
Dylan songs. Following the songs, he talks more about Levon Helms and the Band
and how their favorite track is "Ringo's track". (3.19-3.22)
Picasso-a short piece, of an unreleased
Ringo song. it appears just before the second pass of Ringo's "Taking A trip to
Carolina". (3.23)
Taking A Trip To Carolina-Jan. 3rd-two
short piano segments of this original Ringo song. (3.17 & 3.24)
All Things Must Pass-Jan. 3rd-A short
discussion between Paul, George & Ringo about new songs they have written, with
George stating he has one called, "taxman part 2 or Taxman revisited". He then
plays a couple chords and a half a line. "Taxman part 2" is actually, "Isn't it
a Pity" but at this point in the sessions, is untitled, so George is referring
to it as "Taxman part 2". After that short discussion, this early run through of
George's song "All Things Must Pass". Just George and Ringo. Really heavy drums
on this one, almost like a march. Very different from the released version.
(3.25-3.26)
Jan. 3rd. Improvisation #2-referred to as
"Your name is Ted", this appears after "All Thing Must Pass"
Jan. 3rd. Improvisation #3-The Beatles
start playing "Crackin' Up" which leads into this really nice improvisation
Crackin' up/All Shook Up/Your True Love/Blue
Suede Shoes/Three Cool cats/Blowin' in the Wind-Jan 3rd-an Oldies segment
which the Beatles use to warm-up with on this day. It ends with an up-tempo take
of Dylan's "Blowin' in the Wind", but unfortunately, the tape runs out after a
few seconds of that. (3.31-3.36)
Lucille-Jan. 3rd-Paul, of course, doing
this Little Richard standard (3.37)
I'm So Tired-Jan. 3rd-Paul on vocal on
this cover of John's White Album song. (3.38 )
Ob-La-Di, Ob-La-Da-Jan. 3rd-Following
"I'm So Tired", Paul & John having fun with another White Album song, and making
up lyrics as they go along (3.39)
The Third Man Theme-Jan. 3rd-instrumental
cover of this old song (3.43)
Negro in Reserve-Jan. 3rd-a short but
very unusual song, the true name is not known. It is just so strange it has to
be included in this list. (3.46)
Don't let Me Down-Jan. 3rd-This is a
standard take, until the end, when Paul starts singing in a high falsetto voice,
and John includes the spoken line, "Don't let me down, I'd really like it not to
let me down, and when I hold you in your arms and I feel your pancake next to my
trigger". This line of course is a take off on the similar line from "Happiness
is A Warm Gun". (3.47)
Don't let Me Down-Jan. 3rd-This take
starts with John asking how long the take is, and saying they should time it.
He then starts singing,
"Oh them golden slippers" and then "Desmond has a sparrow in the parking lot",
the take then begins, but there are two false start,
followed by a full take with John & Paul singing very good harmony together. The
take ends with a few chords of "Sun King". (3.49-3.55)
Friday
January 3, 1969 (A/B Road Disc 2)
I’ve Got A Feeling-Jan. 3rd-After
rehearsing ‘Don’t Let Me Down”, The Beatles return to rehearsing “I’ve Got A
Feeling "again.
This take, John, towards the end, sings “everybody had a sex dream, everybody
got a hard on”. Not an especially good take, but for that alternate lyric, it
needs to be noted. (3.56)
One After 909-Jan 3, 1969-this is the
first take of this old Beatles number. As the number ends, they discuss doing
this song on the proposed show, as well discussing the lyric. George asks if
they should practice that a bit, but then says, “perhaps we should do it without
practicing, practicing might f**k it up”.(3.64)
“Because I Know You Love Me So”-Jan 3,
1969-an original unreleased Beatle song. (3.65)
One After 909-Jan 3, 1969-This take is
much tighter than the first, unfortunately, there is a long take call in the
middle, which spoils it. (3.66)
I’ll Wait till Tomorrow-Jan. 3,
1969-another Beatles original unreleased number, unfortunately again spoiled by
a slate call in the middle. (3.67)
A Pretty Girl is like a Melody/Thinkin’ of
Linkin’/Won’t You Please say Goodbye-Jan 3, 1969-Starts with John making
up some lines to “A Pretty Girl”, follows with just the opening notes of
“Thinkin” of Linkin”, which is another unreleased Beatles song. It follows with
a short rendition of “Won’t you Please say Good Bye”, which too is a Beatles
unreleased song. (3.68-3.70)
Bring it On Home to Me-Jan 3, 1969-a
cover version of the Sam Cooke classic (3.71)
Hitch Hike-Jan 3, 1969-George on vocals
of this oldie (3.72)
You Can’t do That-Jan 3, 1969-The Beatles
revisit this song from their old catalog. The song starts out well, but falls
apart half way through. (3.73]
The Hippy Hippy Shake-Jan 3, 1969-A cover
version from their Hamburg days. Once again ruined by a slate call towards the
end. (3.74)
Two Of Us-Jan. 3, 1969-after one complete
take and some discussion, The Beatles recorded a complete take with just Paul
on vocal. (3.77-3.78 )
Two Of Us-Jan. 3, 1969-The next take
featured both Paul & John sharing vocal. Paul stops the take to tell George how
to play his part, the take resumes, but Paul stops it again to tell George to
try it “the other way”. (3.79)
Two Of Us-Jan. 3, 1969-The next take,
again features mainly Paul on vocals. (3.80)
All Along The Watchtower-Jan 3, 1969-As
“Two of Us” ends, George starts singing ,”there must be some way out of here,
too much confusion, must be some release”. Just a short one verse pass, however
it perhaps is a sign of what is to come with George’s frustration. (3.81)
Sun King-Jan 3, 1969-Short instrumental
riff on the Sun King chords.(3.82)
Short Fat Fanny/Midnight Special/When you drink
you think of me/what’s the use of getting sober/What do you want to make those
eyes at me for-Jan 3, 1969-This is another excellent medley section. It
begins with George singing “Short Fat Fanny, which leads to Paul & John singing
an excellent version of “Midnight Special” . “When You Drink You think of me” is
just a line or two, but it sparks John to respond with “What’s the use of
getting sober”, and it ends with a short rendition of “What do you want to make
those eyes at me for”. (3.84-3.89)
Give Me Some Truth-Jan 3, 1969-John
states he has one verse of one called “Give Me Some truth”. Obviously he has run
this past Paul previously, because Paul knows the lyrics, and is the main one
singing it in this short demo segment. The lyrics at this point were, "no
freaked out yellow belly son of Gary Cooper…”. When John recorded this for the
Imagine album he changed it to, “no short haired yellow belly son of Tricky
Dicky…”. In reference, of course, to Richard Nixon. (3.90-3.91)
All Things Must Pass-Jan 3, 1969-First
take with an organ backing. George says they are pretending to be the Band on
this one. Obviously his visit to Woodstock, New York to see Bob Dylan & The Band
has had a huge influence on him. (This take is continued on the Disc 3 of the
A/B Road series, but unfortunately, a short segment is missing between the two
discs) (3.92-3.93 )
Friday
January 3, 1969 (A/B Road Disc 3)
All Things Must Pass-Jan 3,
1969-continuing the first organ take, from the A/B Jan. 3rd. disc 2 (3.94)
All Things Must Pass-Jan 3, 1969-the
second take, with very bad harmony. At the end of the take, George says perhaps
he should perform it on acoustic guitar, but asks how does he do that on a live
show. Paul, who is showing little interest in this song, mockingly asks,
"if
George wants to play this on acoustic guitar how does he do that?". (3.95)
I'm A Tiger-In the middle of working on
"All Things Must Pass", Paul starts singing, "I'm a tiger, I'm a Tiger" over and
over. When he finishes, he asks, "Does anyone have any suggestions for what that
was, for what it could have been?". George & John appear to be ignoring him as
they continue to work out the chords on the organ. (3.97)
organ improvisation-a short instrumental
improv, which sounds very much like something The Band would do. Paul says,
"welcome ladies and gentleman to the Los Angeles Drive-In church". George says,
"Drive-in Drug Store". Paul then says," This morning Father F. Ela Angeles will
read a small sermon, he hopes will be of use to you, and yours". (3.99)
All Things Must Pass-Jan 3, 1969-This is
actually a nice rehearsal take. However the most interesting thing, is that the
end of the take, George gets an electrical shock from the equipment. You can
hear the feedback on the tape, and George say, "Ah F**k it, I just got a belt
man, I got a shock". Paul then says, "if this boy dies you're gonna cop it".
(3.101)
Spoken segment:All
Things Must Pass -Jan 3, 1969-In this spoken segment, John & George are
working out the guitar and organ chords. George says,
"The thing that I feel
about that, the emotion is very Bandy". He goes on to talk about Rick Danko and
Garth Hudson's organ playing and how he "bends" the chords. Towards the end of
the conversation George says the song was inspired by Timothy Leary and his
"Psychedelic Prayers", especially the line "Sunrise doesn't last all morning".
He said that and life gave him the inspiration for the song. (3.109)
All Things Must Pass-Jan 3, 1969-a pass
at the song sung by George with no backing vocal. Unfortunately the tape ends
and the song end prematurely. (3.112)
All Things Must Pass-Jan 3, 1969-a nice
pass at the song sung by George with no backing vocal. John is now 'bending" the
organ chords as they had discussed earlier. (3.113)
All Things Must Pass-Jan 3, 1969-a two
verse pass, sung very well by George, but with extremely bad harmony vocals from
Paul.(3.117)
Spoken segment:All
Things Must Pass -Jan 3, 1969-After working on the harmony with Paul,
George asks him if he "digs"
and Paul says, "maybe".
George tells Paul, "you are so full of shit man".
George then starts a discussion about a line he heard in a play. The line is,
"before you can prey any secrets from me, first you must
find the real me, which one will you pursue".
All Things Must Pass-Jan 3, 1969-a
complete pass, and the harmony by John & Paul is finally starting to come
together.(3.123)
Friday
January 3, 1969 (A/B Road Disc 4)
Back In The USSR/Every Little Thing-Jan
3, 1969-the riff of "USSR" starts this segment, and George asks if they are
going to do any oldies on the show, which leads to just a couple lines of "Every
Little Thing".(3.126-3.127)
Piece of my Heart-Jan. 3, 1969-George
just fooling around on guitar, twice sings a line or two of this Janis Joplin
song. (3.128 & 3.130)
Over and Over Again-Jan 3, 1969-A Paul
original which consists of just Paul singing "Over and Over again". (3.131)
Spoken segment-Jan.
3, 1969-An interesting discussion which begins with George talking about how
great of a guitarist Eric Clapton is. It leads to a discussion of Jazz and Buddy
Rich. This leads to a comment by George of how great Ray Charles band is,
especially his organist Billy Preston. Among George's comments, he says,
"I'm sure you'll dig him when you see him". (unnumbered)
I've Been Good To You-Jan 3, 1969- This
is a Smokey Robinson And The Miracles cover. (3.133)
All Things Must Pass-Jan 3, 1969-Another
take at the song, but it breaks down after the first verse. Very bad Paul
harmony again on this take (3.136)
All Things Must Pass-Jan 3, 1969-This
take has excellent vocals by George, and the harmony is a little better this
time around, but still not quite there. This is a complete take. (3.137)
All Things Must Pass-Jan 3, 1969-In
between takes of the song, George sings, "Macrobiotic pills are good at arriving
at the right time, it not always...".John whistles along to that one line pass.
John makes the comment, "a mind can blow those clouds away. A little bit of pshycodelia in it. You know social comment like. A minor can blow these clouds
away". (3.138)
All Things Must Pass-Jan 3, 1969-The
final take of this song on this day. Another pass where George nails the vocals,
and the vocal harmony is pretty good on this take also. Unfortunately the take
ends prematurely. (3.139-3.140)
Maxwell's Silver Hammer-Jan 3, 1969-The
band spends the rest of the session working on the song of Paul’s. This first
take, which is just 51 seconds in length and not complete, is just Paul calling
out the chords to the others as he plays the song on the piano. (3.141)
Maxwell's Silver Hammer-Jan 3, 1969-first
take with words, which are incomplete at this point. Paul only has part of the
first and second verse and not even the full chorus yet, He is still
occasionally calling out the chords. After the take and some more discussion,
Paul says, "Originally I was going to get a hammer which we might get Mal to do.
Just to get on a hammer like on an anvil, a big hammer on an anvil. Maxwell
Silver Hammer came..., Cause it's only that sound, you can't make it with
anything else. Bang Bang". (3.142)
Piano Improvisation-Jan 3, 1969-Although
track 23 is listed as Maxwell Silver Hammer, after the take of that song breaks
down at the beginning of the track, Paul says, "There is no PA, can you get some
of that on it". Then he begins playing a little piano improv tune on the piano
and the others attempt to join in. This is not "Maxwell Silver Hammer" that he
is playing at this point, unless it is a middle chorus section which Paul was
thinking of using and later abandoned. This improv starts at 1:14 on track 23
and goes until 1:44. (3.144)
Maxwell's Silver Hammer-Jan 3, 1969-Still
demonstrating how the song goes, Paul demonstrates a very short fast up-tempo
runthrough. [3.146]
Maxwell's Silver Hammer-Jan 3,
1969-Although still nowhere near lyrically complete, this is the most complete
take of the day. And the band is beginning to learn there parts. Paul ends the
take by saying, "There are only two verses, I don't know where it goes after
that". [3.147-3.148]
Monday January 6, 1969 (A/B Road Disc 1)
Oh! Darling-Jan. 6, 1969-early Monday
morning, Paul again at the piano sings this by himself. Unfortunately, the
levels were not adjusted correctly at this point, and the first two thirds of
the take have some distortion. (6.01)
Spoken segment-Jan.
6, 1969-Paul speaking about old songs the Beatles wrote. He says he likes "One
after 909" the best. He also mentions early songs such as "Love Me Do" and "Two
Bad About Sorrows" and says there are hundreds of them. He then sings acapella
the following lines from an early unreleased Beatles tune,
"They said that our
love was just fun, the day that our friendship begun. There's no blue moon that
I can see, there's never been in history".
Paul then sings some of "One After
909" acapella. He then goes on to discuss Richard Perry (who would a few years
later work with Ringo on his solo album) and also stuff the Beatles have yet to
release, and Paul says there is some Decca stuff (unnumbered)
For You Blue-Jan. 6, 1969-After a short
discussion of sound proofing the set, George begins singing,
"Those soundproof
walls of silence are ringing in my ears" to the tune of "For You Blue". (6.09)
Carry That Weight-Jan. 6, 1969-What seems
to start as an improvisation, Paul starts singing this. After a couple lines,
Paul says "all together now" and the others half heartily join in. Paul then
adds some lyrics which were eventually dropped from the final product.(6.12)
Octopus’s Garden/Carry That Weight-Jan.
6, 1969-The first go at "Octopus's Garden", unfortunately can only be heard
underneath George's conversation, Paul quickly changes it back to "Carry That
Weight". (6.13)
Carry That Weight-Jan. 6, 1969-Paul
continues with this song, and towards the end, they change the lyric to
"boy
your gonna open that gate".(6.14)
The Castle of The King Of The Birds-Jan.
6, 1969-Paul starts playing some chords for this improvisational song, which the
others join in on at about 3 minutes into it. At about 6 minutes in, the song
begins to take some form and is actually very nice. The track runs over 14
minutes long. This song eventually became "The Castle Of The King Of The Birds",
a McCartney original, later used as part of the soundtrack for Rupert The Bear.
(6.15-6.16)
Jan 6th Improvisation #1-Jan 6, 1969-an
interesting jam which runs almost 9 minutes (6.17)
Across the Universe-Jan 6, 1969-I believe
this is the first pass at this during this session, and it is much different
than the finished product. Unfortunately,
John's vocal is off mic. (6.18 )
I Want You-Jan 6, 1969-This is not John's
Abbey Road song, This is Dylan's song, and it again shows The influence Dylan
had on George. This is mostly an instrumental take. (6.19
Monday January 6, 1969 (A/B Road Disc 2)
Monday January 6, 1969 (A/B Road Disc 3)
Monday January 6, 1969 (A/B Road Disc 4)
Don’t Let Me Down-Jan 6, 1969-
Paul demonstrates the vocal on one verse and the chorus of the song with a very
heavy back beat, while the others listen. They then go on for a very long
rehearsal of this song, with Paul still wanting to include the alternate vocal
responses to John's lead vocal. (6.72)
Don’t Let Me Down-Jan
6, 1969- a fast up-tempo take started by George and then Paul
sings "don't let me down" twice before the take breaks down after about 30
seconds. Just a short knock off take, but worth mentioning due to the fact Paul
is singing and the tempo and beat of this version is different than any other
take. (6.73)
Spoken segment-Jan.
3, 1969-The discussion again is about the corniness of the
song and it gets a bit heated:
Spoken segment-Jan.
3, 1969-after another attempt at Paul's alternate lyric idea,
George and Paul are still not in agreement on the way this song is going:
Don’t Let Me Down-Jan 6, 1969-
After finally dropping Paul alternate lyric idea, they record this complete
take, which sounds very much like the finished version. (6.85)
Don’t Let Me Down-Jan 6, 1969-
The final take of the day, is another complete take, with an extended guitar
outro at the end. (6.87) Two Of Us--Jan 6, 1969-
after a number of false starts, they attempt this number again but it breaks
down. (6.88-6.90) Two Of Us--Jan 6, 1969-
After a number of break downs, the track is going nowhere and Paul says,
"O.K., lets get it so we know it simply and then we can,
we don't know any one yet, we keep trying to get into the bits". The take
resumes but quickly breaks down again. (6.92-6.96) Spoken segment-Jan.
6, 1969- This is the famous Paul & George argument
which was seen in the "Let It Be" movie, but it is much longer
here. A take of Two Of Us" breaks down,
and:
there is a short quiet break where no one talks, just strumming guitars and then
-
Monday January 6, 1969 (A/B Road Disc 5)
(conversation
continued from previous disc)
Paul:..."you be the boss, I have been for the past couple
of years..."
Two of Us-Jan. 6, 1969-a more up-tempo complete take
that finishes with "On our way back home" repeated three time at the end.
(6.103)
Two of Us-Jan. 6, 1969-short discussion of weather
they should use a steel guitar on the song (6.111)
Hear Me Lord-Jan. 6, 1969- a rough take with just
George working out the chords, which concludes with John asking,
"do you want to do that one on organ". Paul then
says "I heard this in my head last night, it was more like
using the organ, then the guitar comes in and then you sang. More like with a
little help from my friends". (6.114-6.115)
All Things Must Pass-Jan. 6, 1969- A complete take
with three part harmony from John & Paul. The track ends with Paul singing
the line "All Things must Pass" once by himself (6.116)
All Things Must Pass-Jan. 6, 1969- another complete
take again with three part harmony from John & Paul. Not much different from the
previous take. (6.117)
Let's Dance-Jan. 6, 1969- In between the "All Things
Must Pass" session John starts playing and singing this oldie on the organ and
the rest join in for a quick run through of about 1 minute in length (6.118)
All Things Must Pass-Jan. 6, 1969- another
complete take again with three part harmony from John & Paul. The harmony is
getting better on this take. (6.119)
She Came In Through The Bathroom Window-Jan. 6,
1969-Paul walking the others through the chords and rhythm of the song (6.124)
She Came In Through The Bathroom Window-Jan. 6, 1969-A
complete take, with different guitar fills from George (6.125)
She Came In Through The Bathroom Window-Jan. 6,
1969-Paul starts this take from the second verse. The tempo is also slower on
this take. (6.126)
She Came In Through The Bathroom Window-Jan. 6,
1969-another take, which unfortunately isn't captured in its entirety because
the tape runs out. This take is close to the final version which appeared on
Abbey Road. (6.127)
Carry That Weight-Paul just sings acapella a line from
this song as the session is breaking down for the day. (6.131)
You Wear Your Women Out-Jan 6, 1969-This
is actually two takes. The first take is the commonly know version found on
Vigotones “Thirty Days” set. After that take ends, Paul starts a different bass
line and begins the song again. This second take, two thirds of the way through
almost breaks down, but they begin playing the opening chords of “I’ve Got a
Feeling”, and then go right back into “You Wear Your Women Out” for another
verse. (6.23)
I’ve Got A feeling-Jan 6, 1969-following
“You Wear Your Women Out”, they go right into “I’ve Got A Feeling” , which on
this take has a very different bass line running through it. At the end of the
song, Paul says, “The downtown Rhythm and Blue influence in I’ve Got a Feeling
can be noted by the Aeolian cadences and the Cadaconic clusters”. The Aeolian
cadence reference of course refers to how a reporter described their songs in
the early ‘60’s. (6.24)
My Imagination-Jan 6, 1969-If you listen
to the riff in this song, it is based on the song “Watch Your Step” by Bobby
Parker, which was also used by the Allman Bros. Band for the song “One Way Out”.
This Beatles version is basically just a 7+ minute improvisation in which Paul
sing/screams, “My Imagination, took me by surprise in the middle of my
conversation”. (6.25-6.26)
Jan 6th Improvisation #2-Jan 6,
1969-another interesting improvisation lasting about 5 minutes. (6.27)
I’m Gonna Pay for his Ride-Jan 6, 1969-As
the previous improvisation ends, they go right into this take, referred to as
“I’m Gonna Pay For His Ride” from a line Paul says towards the end of the
improvisation. This and the previous take makes you wonder why Paul was looking
for “Polish and perfection” in the Get Back sessions, when they could have just
gone out on the road and been a great jam band. These two takes are proof that
they could have given the Grateful Dead a run for their money. (6.28 )
One after 909-Jan 6, 1969-This rehearsal
segment features a complete take, followed by an instrumental take, and then
another take with the vocals off mic, as George plays around with different wah
wah effects on his guitar (6.31-6.34)
That’s all Right Mama-Jan 6, 1969-After
playing with the wah wah effect, George start to play an acoustic take of this
which only lasts about 40 seconds. (6.36)
Hear Me Lord-Jan 6, 1969-Fist try at this
Harrison original, unfortunately once again George is off mic. This is almost a
complete take. (6.40)
We should concentrate on the sound-Jan 6,
1969-After another discussion of the poor sound quality, John sings and plays on
guitar the following, “I’d like to say that I like the intimate idea rather than
a large park, simply because we should concentrate on the sound, simple because
we should concentrate on the sound”.(6.42)
Leaning on A Lamp Post/Annie/Maureen-Jan
6, 1969-George says to Paul, “are you going to be doing “Leaning On A Lamp Post
then”, and Paul begins to sing it, but they are having a hard time getting the
chords correct. After about 1 minute, John then begins singing “Annie”, with the
lyrics “ take a look at Annie she’s pretty fine, just take a look at Annie Oh my
Oh my…” He then stops singing for a second and says “This is one I wrote for Ringo” before finishing this quick take. .George then begins singing this song
called “Maureen”, which could have been about Ringo’s wife. (6.46-6.48 )
I’m Talking About You-Jan 6, 1969-A short
take of this Chuck Berry number with George on vocal. (6.49)
Spoken segment-Jan.
3, 1969-A long discussion of the shows and how to stage them with input mainly
from Paul and Yoko. Yoko suggests they perform before 20,000 empty chairs
because it would be like performing before the entire world. Paul actually
thinks this is a good idea, and suggests since they are doing two shows, they
can do one night to an empty house and the second night to a full house.
(unnumbered)
Jan 6th Improvisation #3-Jan 6, 1969-This
improv start as an over 1 minute drum solo and then is joined by the others for
the remaining 4+ minutes(6.50)
Tracks of My Tears-Jan 6, 1969- vocals
are off mic, so this is mostly an instrumental cover version. (6.52)
Dizzy Miss Lizzie/Money (that’s what I want)-Jan.
6, 1969-A very good jam session on these two oldies. Again vocals are off mic,
so they are mostly instrumental takes. As “Dizzy Miss Lizzie” ends, they go
right into “Money”. (6.57-6.58)
Fools Like Me/Sure To Fall/Right string, Wrong
Yo-Yo-Jan. 6, 1969-“Fools” unfortunately is off mic through all but the
last few seconds of the song, but when that ends, they go right into “Sure To
Fall” and this is a nice cover version of this old song. From there they go
straight into “Right String Wrong Yo Yo”, which is mostly an instrumental take.
(5.59-6.61)
Don’t Let Me Down-Jan 6, 1969-A long
rehearsal segment, in which Paul suggests that he sing alternate lyrics
underneath Johns lead vocal., such as , “I’m in Love for the first time”- “for
the first time in my life”- “Don’t you know it’s gonna last”- “Not gonna let it
get away”. At one point Paul says the song is corny so it is O.K. to add other
corny lines. It is a good thing that John had the good sense not to do the song
this way as it would have ruined it. (6.62-6.65)
Don’t Let Me Down-Jan 6, 1969-a complete
take using Paul’s idea of him and George singing the alternate lyrics under
Johns vocal. At the end of this take, George says with the foot pedal he can
play some different riffs so it doesn’t sound like the “same old shit”. John
says he likes “the same old shit if it’s just clear” (6.66-6.67)
Don’t Let Me Down-Jan 6, 1969-This
complete take, George is adding different guitar fills as he just suggested
after the last take (6.67)
Don’t Let Me Down-Jan 6, 1969-a short
take sung with Paul on lead vocal. Unfortunately this take ends prematurely
(6.69)
Paul to George, "You said it was corny before, so to
change the corniness, I was changing the words".
George replies, "but the corny bit I thought was the notes I was doing and the
way I was doing it, not what he was saying".
Paul replies, "I think we can get around the corny lines by having new
words, we still haven't tried it, but you keep saying it's wrong. Lets try it
and then when we try it we'll see if its wrong".
George says, "we've already tried this alot".
Paul replies, "but we still haven't done this".
He then goes on to say the alternate lyrics again. Paul then agrees to
just repeat John's lead vocal lyrics, and they try a verse like that. John &
Paul want to do the corny version again just to get the rhythm right.
Paul says, "lets just do the corny one and then we make it
better as it goes on. But if it doesn't go on, then we've just gone around for
an hour with nothing in our heads so lets just move on now".
John says, "I'd like to hear any of them right once".
George says, That's why you don't get anything done because you just keep
singing..."
Paul cuts George off in mid sentence and starts singing the alternate lyric
again and John joins in singing.
(6.81)
Paul says; "That's near enough for the time being"
George replies, "if we had a tape recorder now and just played that back you'd
throw it out straight away. Really you'd throw it out".
Paul does not know how to reply and appears to be
speechless. He finally says, "I give in, I give
in." However the argument with George will get
worse later in the session.(6.82)
Two Of Us--Jan 6, 1969-another attempt, but
once again the take breaks down as Paul stops the take to say that it
"slows down there". (6.91)
Paul says, " See we're all going to have to bring it together because we are
all at odds at doing that thing we did on "The Beatles" we're all playing. Like
in this verse it is two harmony singing trying to say some words. Then in the
bits where we need bits".
John :"I'm trying to sing it and do this
thing".
Paul: "We got to get the riffs when the riffs bits come in" .
George: "There's no riffs".
Paul: "you and I...".
But George cuts him
off and sings, "You and I are memories".
Paul: "But its not together, so its
not sounding together"
George: so we keep playing until we..."
Paul: "or we can stop and say it's not together".
George: "Yes then you've got to carry on until you get it together. It alright
to keep playing until it sounds like it's blending with the rest"
Paul: "O.K., well you know I never know what to say to that you know, because
what I want to say is, now come on and play, but I can't I know because then
we get into that one, so here we go. I can't make it beyond that, it's
complicated now, if we can get it simpler and then complicate it where it needs
complications, but it's complicated in the bit."
George: "It's not complicated".
Paul: "Yea but you know".
George: "I'll play just the chords if you like".
Paul: "Come on you always get annoyed when I say that. I'm trying to help you
but I always hear myself annoying you and I'm trying..."
George: "No you aren't annoying me, you don't annoy me"
Paul: "You know what I mean, Do this then and I don't know".
Paul says, "We can't do it on film either, I don't know if
we should do it on camera"
John, strumming his guitar and he says, "Do you want me to keep this up".
Paul: " I don't mind, but doesn't everyone agree that it is confused at the
moment, all I am saying is lets get the confusion unconfused and then confuse,
But you know this is what we have been doing all afternoon this is why we aren't
getting anything done. We're just rolling on and we only got twelve more days,
so we really got to do this methodically this one. Like unconfused then a bit
more confused, then a bit more, and now try this drumming here, try this drumming
there, now o.k. lets stop and look into this bit..."
John: I got an idea, I should vamp, because I gotta sing, it hard going,...but
it's annoying, but I'll just do that kind of vamping".
Paul: "we should do a drive through like candid camera".
John: "forget about candid camera"
Paul:"... I'm trying to stop us all playing until we know what we are playing".
George: "but you got to play in order to find out what fits and what doesn't"
Paul: "but I'm thinking we'll improvise in the solos, but we play strict chords
and strict rhythms around the vocals. I don't want to say it because I really
just hear myself as being the only one saying it. All this time...I don't, don't
get any support or anything...you know its right and you know its right".
John: "but you don't know what to do about it".
George: "I'll wait until you work out your bits and then work my part out if
you like. It's like a matter of working it out with you while your working your
bit out. You know if you got your bass bit, you know... it will take even
longer"
Paul: "Look, I'm not trying to say, I'm not trying to say to you, you're doing
it again as though I'm trying to say, and what we said the other day, I'm not
trying to get ya. What I really am trying to just say is look lads, The band you
know, should we try it like this you know.
George: "It's funny though how I don't really care...."
Paul: "I know it, this ones like, should we play guitar all the way through Hey
Jude, I don't think we should then"
George: "O.K., well I don't mind I'll play what ever you want me to play, or I
won't play at all if you don't want me to play. What ever it is that will please
you I'll do it. But I don't think you really know.
John: "do you want to take the galloping..."
Paul: "No but O.K., come on, look you know..."
John: "The galloping bit and I'll just vamp".
Paul: "Look you know, No its not like that. You see it, we can't do this we
really got to sort out this, because this is the one, now we're rehearsing, and
were trying to get it together, together for the TV show, so we really. Like you
said we've only been through four numbers".
George: Um Hum, well.
Paul: "so we probably have to get some system to get through twenty or thirty
and no more.... It's probably gonna be like sculpture so that we get all the
chords so we can all vamp them all. Then we can like all play every solo we
need. But like, you know what I mean it has to sound as though it's improving."
George: "yea well it actually sounded to me, for me it was a waste of me time
playing when we started it today. I just started remembering then what it was
getting into the other day after playing for an hour and a half. And suddenly, I
just don't mind if what I am doing is starting to have something, to have some
sculpture to it"
Paul: "I know what you mean. It's just that way of doing it puts me off to the
way I am trying to do it".
George: "Well I can only do me, that one way, however I do you know".
Paul: "Lets do another song then."
George: "Do you want to do Maxwell Silver Hammer?"
John: "let's do this, cause I mean we're gonna come to this or what ever it is.
The thing is to try to think of whatever it's gonna be".
Paul: "This afternoon I think we've wasted enough time. I think we do waste,
physically waste alot of our time the four of us together... (6.97)
George: Yea but for this,...
Paul:..." no one is, that's what we decided you know". "This is live and it is
chaos. That's why we take so long. Because really we could sort
of,...That's the thing, we could play it shitty, I could play it shitty ten
times and so it's sort of in there and then I think we could kind of play it
quite good then. But is' only an idea, it just like different approaches you
know. I think we'd be better just doing it all like the Red Norvo Five, just
really like...
George: "vamping away"
Paul: vamping, just vamping away on nothing and then get the imaginative thing
,you know. But anyway I know it's impossible for us because you don't do it like
that....There's no point in me trying to get you to do it how I do it. Because
it's how I do it, not how you do it.
John can be heard now playing and singing "Two of Us", Ringo begins to tap
out a basic rhythm and John ends his playing by saying,
"see I suppose that's how they do it".
(6.98)
Frere Jacques/It Ain't Me babe-Jan. 6, 1969-After some rehearsal of "Two
of Us" the play one short take of "Frere Jacques" and one line of Dylan's
"It Ain't Me Babe". George then says, "it was turning more
heavier, it was going heavier. Now do you want it more countryish or more...".
Paul then says, "I don't mind, I'll just go where it goes.
I can't get to theoretical about it. I trying to put my foot anyway".
(6.102-6.103)
Two of Us-Jan. 6, 1969-another complete take. John's vocal is a little
more up-front on the mic on this take. "On our way back home" again repeated
three time at the end. (6.104)
Two of Us-Jan. 6, 1969-a complete take, after the first "we're going
home", Paul says, "going home baby". At the end,
after "on our way back home" Paul says, "yes we are baby
that's true" and "Don't you forget it brother"
as the track concludes (6.107)
Across The Universe-Jan. 6, 1969-a rather nice complete take, which has
an extended mostly instrumental ending. After the song ends, someone shows
George an album by Mary Hopkins in which he remarks, "is
this a finished album, or an acetate, oh I've got this one". (6.113)