Amazing Beatles Book, Get Back

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Couldn't believe I stumble across this awesome book by the Beatles!

Transcript of Amazing Beatles Book, Get Back

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THE BEATLES GET BACK

The lyrics, or extracts therefrom, ofthe undermentioned compositionsare produced by permissionof Harrisongs Limited

Copyright for the World ©Harrisongs LimitedFor you Blue/1969All things pass/1969

The lyrics, or extracts therefrom, ofthe undermentioned compositionsare produced by permissionof Startling Music Limited

Copyright for the World ©Startling Music LimitedOctopus's Garden/ 1969

The lyrics, or extracts therefrom, ofthe undermentioned compositionsare produced by permissionof Northern Songs Limited

Copyright for the World ©Northern Songs LimitedYou've Got to Hide YourLove Away/ 19651'm Only Sleeping/1966Magical Mystery Tour/1967Hey Jude/1968Back in the U.S.S.R./1968Blackbird/1968Maxwell's Silver Hammer/1969Get Back/ 1969Carry that Weight/ 1969Don't let me Down/ 1969Dig a Pony/1969Two of Us on our way home/1969I got a feeling/1969One after 909/1969

Copyright 1967 by Dwarf Music, Inc.New York U.S.A.Reproduced by permission ofB. Feldman and Co. Ltd.I shall Be released — Bob Dylan

Designed by John KoshProduced by Neil AspinallAdditional materialsupplied by Mal Evans Published1969 by Apple, London Printed inEngland by Garrod andLofthouse International LimitedCopyright © 1969 for the world byApple Publishing

Photographs by Ethan A Russell

Text by Jonathan Cottand David Dalton

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Things as they areAs a dreamAs they are as a dream

Paul: I think we're getting thewrong idea about the film. It'slike in the Stones' Circus.I couldn't really get into that. Itwas an 'event' and that kind ofthing is all over. I say, just stickon it and leave it. Just leave theshot and the whole bit and notjust this excellent littlemovement. Like onRingo. He does this and hedoes that and it's all great, andthat to music.Linda: Like a study.Paul: A study, yeah, likePicasso paints. You just saw thewhole thing right there. Thesesongs are our paintings. Get verybright lights so you seeeverything, instead of moodylighting, that kind of thing. Witheverything here, it hardly needsscenery. Really, it all should beabout him and his drum kit. Lookat his drum kit, it really looksgreatbeautiful sitting there. Then Johnand his guitar and his amp, sittingthere, actually showing it at thatminute. The scenery would just bethe other things around, like thescaffolding, the other cameras. It'slike in a news event. The manshooting isnews, not the man on the groundafterwards. I'd really like to look atPete Townshend's face; hefascinates me . . . like on 'Jude'the little screams were moreinteresting than the postman. Ifyou can think slow, not bang!bang! bang! Instead of getting allthe pacing, a chair lift, the flow,the pace is already

there. You can glide down fromthe roof on a one shot on toRingo's face, float around, beingcareful not to miss anything. It'slike Warhol's things; he goes tothe other extreme, but he reckonsthere's a pace in 'Empire'. Even aTunisian amphitheatre can beboring. I don't digunderestimating what's here. If it's going to be scenery, we shouldgo the whole way and getgalloping horses. You should getreally close up, like right into oneof John's eyes. Can you do that?That direction, rather than Johnand the moon. Linda: The worldis dying to see them. I've neverseen a study of them. You wantto be there. Lindsay-Hogg: I justthought of going to Africabecause we colonised it.Paul: But we could have like agame of musical chairs, acomputer set up with chairs. You've got the scenery here. It's like 'The Potter's Wheel'; they'd makea pot before your eyes. Thecamel won't be doing anything 'live'; you'll be lucky if you catchhim crapping on camera.Linda: It's like being a greatphotographer. Like there areonly certain men I'minterested in photographing. Ican't photograph women at all;it doesn't involve me .. . Well,maybe like Greta Garbo. Paul:If you go away, you're going tobe hamstrung by the scenery. Ifyou could shoot the steadiness,like you're flying o v e r . . .Lindsay-Hogg: What was yourfavourite of the TV shows?

Ringo: Around the Beatles. Paul:. . . just sit back in a wide shot,then go to someone, like a newsevent.Ringo: I'd like it like a Countryprogramme where you have onecamera, just step in and do yourbit, like on the Grand Ol' Opery,Flatt and Scruggs; they'd allmove in when their solo camearound and take the centre sothey acted out the shots.Paul: It bugs me when they zoomin and out. I'd like it to be like anold movie. If you want to sayanything, you walk up to thecamera. The only thing thatdoesn't need to move is thecamera. It's like oriental medicineand western medicine. Weprescribe for the symptoms; theyare into preventing it. It's like aswitch—get us to do themovement.Ringo: They asked some peopleto stand by a wall, just standthere, not do anything, but theycouldn't do it. They all had to dotheir bit, all the old jokes we usedto do and that .. . Kids always winon those. Paul: Dreaming inpublic is the thing. You knowthose dreams where you go downa Helter Skelter? And the scenechanges? But doing that awake.The latest thing from Apple!

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Paul: Can you play that backnow, Glyn?Glyn: Coming up.Paul: The thing I don't wantis a TV show. They always seemto have that farty little sound onTV.Glyn: Don't forget you'rehearing it on a TV speaker,which is a grotty speaker, butyou can get a good sound.Paul: But even so, wheneveryou used to get Cool for Cats,when they played the record oranything, you'd hear theold mine shelves, in the old days.Don't let me downDon't let me down .. .

Paul: Hi Ringo. Hi lads.Ringo: Hi. Happy NewNew Year.Paul: It's the happiest belatedhogmany for marmalade.John: It's a feeling . . . it'senough to make a haggis growlegs; but tonight we'll celebrateon Irish Whiskey said GenePitney, the only Sassenach inthe group.Paul: I tried to call you thismorning.John: I know, I complained tothe operator about it.Paul: I get the horrors everymorning about 9:00 when I getmy toast and tea .. .JUMBLE OF VOICES(Tuning up, drums, cymbalstintinabulating, a riff getsmoving. John, Paul, and Georgesinging 'I Shall Be Released')They say everything can be replacedThey say every distance is not nearYet I remember every faceOf every man who put me here.George: It's echoing; we havea bit of echo. We could get aPA like in the Top Ten inHamburg.John: (singing) Don't bringme down .. .Paul: It's the first time I thoughtit was this high; I thought it waslow before. John: I think it'swhen you're trying to sing over . .. You see I've no order for it atall—for all the bits. I'm just goingto see which should come where. . . Don't bring me . . . Paul: Thepoint is, are we going to do it,can we do it? John: We've beentrying. Paul: I think we shouldlearn it then, see what's needed.The idea of a piano does limit it.

always think that soundsfunny, like having trumpeters.'singing)Don't let me down .. .f you could have 'Don't letme down', say, twice at thebeginning. It sounds like amiddle 8 all the time. I wouldn't ;crap that; use it somewhere nearthe end.John: We'll do it a couple ofmore times right through.George: Do you want us tosing in unison or harmony?Paul: Harmony.George: We'll need three mikesthen.Paul: Something like (singing):Love for the first timeSo don't you let it get awayIt lasts forever and a dayStart off with a corny one.John: I think the words shouldbe corny 'cos there's no cleverwords in it.Paul: Just repeat what you weredoing, but not as high as we weredoing it. (singing)I'm in love for the first time in

my lifeDon't you know it's going to last.George: The corny bits Ithought were the notes, howwe were doing it, not the words.Paul: Let's try it again and see ifit's all right.Don't let me downDon't let me downGeorge: That bit is even cornier;the harmony—it's too pretty.Paul: We can make it better aswe go along. Do it once more. I,2, 3, 4,I'm in love for the first timeGeorge: That one was great. Trythis, it's these three, 1st 2nd 3rdfret, an open bottom E .. . Don'tlet me down

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In a Play Anyway Date:2nd January 1969

Location: TwickenhamFilm StudiosCast:John LennonPaul McCartneyGeorge HarrisonRingo StarrDirector:Michael Lindsay-Hogg,Yoko OnoLinda EastmanSound Engineer:Glyn Johns,Malcolm EvansScene: A large sound stage atTwickenham. At one end, a giantsemi-circular backdrop screen,curling around 180° of space, withcolour like light under water. Thecolours on the backdrop screenglow side by side: red, green,purple bands, a technicolorrainbow. A spacious platform isset up in the centre. Ringo,wearing a turtleneck, is sitting highup on the drum rostrum above apyramid of drums and cymbals,Below, a triangle of chairs facinginward. George with moustache,beside him a table with a bowl offlowers. He is wearing a pinstripedshirt and a red scarf that remindsyou of the cowboy photos of himin the first Beatle concert book.John, dressed in white, wearingsneakers, peers through glass likea wise old fish, like St. Augustine,like John Lennon. Paul has not yetarrived. In the half-light, the crewmove about furtively, four cameramen, clapper, grip, boom men,around the rostrum and the

little group of chairs that floatslike Huck's raft on the blue-black ektachrome floor. Thedirector, Michael Lindsay-Hogg,in a brown pin-striped suit,smoking an early Hollywoodcigar, wears his '30s. Yoko'sin black, visible, invisible, silentlypresent. Her hair, Noh curtains.Drinking tea from a styrofoam cup,picking nervously at her hands, aBird of Paradiseperching for a moment on anelectric wire. Glyn, immersed insound. Indispensible Mal,Beatles oracle, 'Where are themachines from EMI, Mal?''Get me some more of theseheavy gauge strings', a friendlygiant.Lindsay-Hogg: Cut! Itake 2 silent turnoverJohn: (singing: his voice likea nasal organ)Don't let me downDon't let me downDon't let me downDon't let me downI'm in love for the first timePlease don t let me downDon't let me down Don'tlet me down Don't let medown Don't let me downNobody ever loved me likeYou doIf somebody loved meHalf as much as you do meAs you do .. .(The sound is hypnotic. Wordsdrift sleeping into each other—'azure doomy' ('as you do me').Paul arrives, bristling blackbeard, in a grey overcoat,disguised as God. This camouflageallows him to travel undetectedinto town on the 74 bus fromSt. John's Wood.)

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Charity Begins at Home Paul: Imean we've been very negativesince Mr. Epstein passed away.That's why. We haven't beenpositive. That's why all of us inturn have been sick of the group,you know. There's nothingpositive in it. It is a bit of a drag.The only way for it not to be a bitof a drag is for the four of us tothink, should we make it positveor should we forget it.John: The whole point of it iscommunication. We've got achance to smile, like 'All YouNeed is Love'. So that's meincentive for doing it. Lindsay-Hogg: 'All You Need is Love'and 'Hey Jude' didcommunicate.Paul: Of course they did .. .There really is no one there tosay 'Do it!', whereas there alwaysused to be and we would sayforget it. But it's us that have gotto get us up ahead now ... It's likewhen you're growing up and thenyour daddy goes away at acertain point in your life and thenyou stand on your own feet.Daddy has gone away now, youknow, and we are on our ownlittle holiday camp. You know, Ithink we either go home or we doit. It's discipline we need. It's likeeverything you do, you alwaysneed discipline. We've never haddiscipline. Mr. Epstein, he said,sort of 'Get suits on' and we did.And so we were always fightingthat discipline a bit. But now it'ssilly to fight that discipline if it'sour own. It's self-imposed thesedays, so we do as little

as possible. But I think we needa bit more if we are going to geton with it.George: Well, if that's whatdoing it is, I don't want to doanything.Paul: Well, you see nowadaysyou've grown up and don't haveto do that any more. You don'thave to put the pancake on andgo out front and sweat and shakeyour heads because we're notthat any more. We've grown up abit. So what I mean is, we did itthen, but it doesn't mean to do itagain we have to do all that. Ithink we've gone a bit shy. I thinkI've got a bit shy of certain things.Lindsay-Hogg: I guess thedifficulty is getting up in front ofan audience with all you've donein front of you. Trying to getsomething as good, but maybenot the same thing. It's a veryhard thing to get back In otherwords, you musn't think of gettingback what you had.Paul: Desire to do it. It's like withall these songs; there are somereally great songs, and I just hopewe don't blow any of them.Because you know how often onalbums we sometimes blow oneof your songs because we comein in the wrong mood and you say'this is how it goes. I'll be back,'and we are all just goingchugachugachugachuga .. .George: Really, I don't want to doany of the songs on the showbecause they always turn outawful like that. They come out likea compromise whereas in astudio they can put work

in on it until you get it how youwant it.Paul: Last year you were tellingme: you can do anything youwant, Paul; anything you desireyou can do.George: But you have to desireto do it.Paul: But these days you aresaying we're not going to be ableto do it, you know, we're going tocome out a compromise. Now Idon't think that, I really don't. Ithink we've got it. I really think we're very good. And we can get ittogether if we think that we wantto do these songs, great, we canjust do it great, you know. But Ithink thinking it's not going tocome out great, well, that's likemeditation where you just get intoa . . . and you come out of it, youdon't go through it. So you're sickof playing the drums; we've all gotto say it. It's all the same and we've got to go through it.Lindsay-Hogg: Well I think one ofthose things that's wrong aboutdoing the show here is that it's tooeasy. Like when we are in the carlooking for locations and glorifiedboutiques, I think that's wrong.But just doing it in the backyard. Imean it's literal. It's almost yourbackyard, Twickenham. There'sno balls to the show at all. I meanthere's no balls in any of us, I'mincluded, and that's why I think weare being soft about it. You arethe Beatles; you aren't four jerks.You know what I mean.Paul: The only thing about that isthat we don't want to go away.

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Lindsay-Hogg: I know, I know, Iknow. I know if I say it again I'mgoing to get a big left hander,b u t . . .George: You know its going tobe the same thing there ashere—it's going to be a bitnicer place to be in, but it'sgoing to be even morecomplicated trying to plug in onall the mikes and tapes and allthat crap.Lindsay-Hogg: First of allvisually the thing that interestsme . . . naturally . . . Think of thehelicopter shot over theamphitheatre with the water withthe lights and the water, torchlit,2,000 Arabs. You know what Imean. Visually it's fantastic.Paul: But if it was a fan clubshow. You remember theWembley, or the Wimbledonone where we were in a cage,and like people were filingpast; it was just a different kindof thing from what we everdid. It was terrible. That's not it.But that kind of thing made thatshow different because it was likeplaying to a thing, like a fan club.Lindsay-Hogg:... And it's oneof the first times in history whenyou had heroes of your ownage. You think about that.Because prior to Rock and Roll,heroes were like Valentino, andthere weren't many.Paul: Did any of you see onBBC-2 when the students tookover Late Night Line Up?Lindsay-Hogg: No, but Iwanted to. Go on.Paul: They just had a little bitof normal Line Up interview;then they went down to this

place in Chelsea where they hadan Arts Festival or something, outin the parks, where they builtmarquees. And the BBC said 'Why don't you do a TV show?' 'Why don't you let us do a TVshow.' So they eventually gavethem twenty minutes. And it wasincredible, really. There was justthis fellow, sitting there, watchinghimself on a monitor screen, sortof drinking a cup of tea. But for along time, you know. A bit longfor Telly. For about five minutes,with 'Revolution' playing overhim. And there was just this oneshot of the fellow, just held deadstraight and the camera on themonitors zooming in and out onhim. And, you know, he's pickingup a cup of tea and that. And it'slike all the students have sort oftaken over, you know. It's likeanarchy. And they got hold ofBBC-2 for a bit. And then theyjust started to shout to a coupleof people. They weren't very goodabout it all. They were a bitstudenty about it. A bitembarrassed to be on. They didn't really take hold of theopportunity and do it. But it's thatkind of opportunity we've got foran hour.George: Let's do a politicalbroadcast.Paul: Jude is political. That'sthe thing We don't like partypolitical broadcasts as such.We've never liked them. Ialways turn them off whenthey come on. I try and findanother channel, and therenever is.George: It's incidental.Whatever we have to say, to do

with anything, is alwaysincidental. Hiding behind thechords of a tune, or something.But we don't actually come outlike 'All You Need is Love.' We've got our props. We've got ourying-yangs and our flowers andthat. And saying 'All you need isLove' which is, you know, very tothe point.Paul: Yeah. But the thing is,I mean, OK. I mean if you put usplaying in the main gallery at theHouses of Parliament—you'vegot it there. Could you get it?Could you get it for us, theHouses of Parliament? Weshould do the show in a placewhere we are not allowed to doit. Like we should trespass. Goin. Set up and get moved, andthat should be the show. Getforcibly ejected. Still trying toplay your numbers and thepolice lifting you. You have totake a bit of violence. Lindsay-Hogg: I think that's toodangerous. I mean that's aninteresting thought if you aregoing to be beaten up. But whatabout a hospital?John: Manilla or Memphis?Ringo: Liverpool Cathedral.Paul: It's like going once, goingtwice, going three times and that'sit. It's even, I think, like charity,you see; we oughtn't to do it formoney, but equally we oughtn't todo it just for the 500 seats. Butthere is somewhere in between.Those are the two ends of thescale, either 500 seats, or justpaying customers. There ought tobe somewhere in between.Orphanage going downhill.George: We could make it likerequests, as if they were all

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special. Each song is aimed atsomebody. This one is for EnochPowell.Lindsay-Hogg: Do youremember that one of the ideaswas like . . . you know, this is forthe girl who was next to Georgeon the 52 bus? George: I'd like todedicate this one to HaroldWilson, the Singing Nun, andGeneral Washington. It's called ... John: Up your pipe. Lindsay-Hogg: John, how does all thisstrike you?John: I'm warming up to theidea of an asylum.Paul: We should send planes toBiafra, and rescue all the peopleand then play at the airport asthey come in. Do a show forthem. Biafrans.George: Don't they say 'Charity begins at home'?Paul: So we will do it atGeorge's house.Ringo: Let's do the show righthere.George: (sings and strums)Any day nowAny day nowI shall be released.Paul: Say we were doing it in anairport. You could stop the peoplefrom coming and going. They'veall got planes to catch. Like youget a lot of people all the timegoing for planes and looking. Itwould be a scene. Or in a hospital;they can't get up—except at thefinale, when John walks over tothe little girl and says 'Come ye'and she gets up and walks. I don'tsee why any of you, talking towhoever it is, is going to gethimself into this.

What's it for? Can't be for themoney. I mean, why are youhere? I'm here because I want todo a show. But I don't really feelan awful lot of support. I mean, isanyone here 'cos he wants to do ashow, or am I just . . . The bestidea is straight entertainment. Themost entertaining show of alltimes. That's right. That's whatviewers want to see, sitting rightat home in New York. Straight,great, fantastic, touching beautifulrock and rolly, poignantentertainment . . When we gettogether, wejust seem to talk about the past.George: Well, the Beatles havebeen in the doldrums for about ayear.Paul: It's silly for us at thispoint to crack up.

Somebody SpokeI Went Into a DreamGeorge: Maybe we shouldlearn a few new songs.John: Actually I started onelast night; It goes somethinglike this: (sings)You are definitely inclined

towards itAlthough sometimes I doubt it.(John begins singing with thevoice of the old man in themountain)Everybody had a hard yearEverybody had a good timeEverybody had a wet dreamEverybody saw the sun shineOh yeah oh yeah oh yeahPaul: (singing) I've got a feelingA feeling deep inside (oh yeah) I've got a feelingA feeling I can't hide (oh yeah)I've got a feeling(singing like Little Richard, pilingup words Helter-Skelter style) Allthese years I been wandering

aroundWonderin' how come nobody

told meAll I been looking for is somebody

who looked like you.(At this point, George playsa guitar break, going down a fifthstep by step sol fa mi re do)George: Still there's a bit of doubtamong us about that break.Paul: It's coming down too fast,the note: there shouldn't be anyrecognizable jumps. You seethat would be okay if you .. .(demonstrates going down afifth, playing quicker thanGeorge has done) It's got to belike pain; at the moment it's ariff.

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George: You can't do that andhave it clipped at the same time.Paul: Just do like anythingso that it's crying. It's likeda da dada instead of da dada.George: It will never go. Paul:It would be great if you hung onto that bit, that E like PeteTownshend. (sings) Oh pleasebelieve meI'd hate to miss the train (oh yeah)And if you leave meI won't be late againI've got a feelingGeorge: It's more like country. Idig country and western. Paul: Ifwe can sort of relax enough torealize we can get more feelinginto it if it's softer, play if soft.John: It's not heavy.Paul: I don't know if I can relaxenough to sing falsettos; it's asclear as that.John:Everybody had a hard yearEverybody put their feet upEverybody let their hair downEverybody pulled their socks upOh yeah oh yeah oh yeah Paul: Ihad a dream, I had a dreamthis afternoon, we shall all beunited.John: Did you hear Martin LutherKing when they shot him . . . Ihad a dream this afternoon,children, I dreamt the black andwhite kids are gonna be together.Paul: He got shot after that;that was the speech.John: No wonder they got him.Just like a poet; he was just likeTennyson and that kind of thing.Paul: I was dreading throughout

that speech.John: Cause it was gonnahappen.Paul: Some nut, too, somewhite nut.John: But it's not nuts, it'sbusiness.Yoko: He was like a poet.Paul: (sings 'I Got a Feeling')Free at last, free at last. John:I have a feeling, I had adream—we could make it ourlast single.I've got a feelingThat keeps me on my toesI've got a feelingThat everybody knowsI've got a feelingJohn: Got to admit it's gettingbetter.Paul: Got to admit it's gettingworse.Lindsay-Hogg: Why don't wetake a break here?George: Could I have a cupof tea, love?Paul: Do you want one ofthose rock cakes, George? (George and Ringo sit downon the edge of the drumrostrum. John continuesplaying his guitar,Paul's sitting on oneof the chairs reading anewspaper. In his tee-shirt andbristling black beard, he lookslike the sailor on a pack ofPlayer's cigarettes.)

Read the News Today,Oh BoyDaily Telegraph'U THANT A POP SINGER'REPLY SHOCKS CARADONIgnorance of the United Nationsin Britain was so great that in apoll, U Thant, Secretary-General,was described as a pop singerwhile some people thought hewas a submarine, Lord Caradon,Minister of State, and Britain'spermanent representative at theUN said in London yesterday.

Daily MirrorSTOLEN 200 MILES OF SUPERSAUSAGE SKINSTHREE COUPLES GETTOGETHER TO TEST ATHEORY ABOUT MARRIEDPEOPLE LOOKING ALIKEThe Financial Times TURKEYPRICES SLASHED TO CLEARCHRISTMAS GLUTEvening StandardVITAMIN JABS APPEAR TOWORKNEW ARIEL GIVES WASHDAYRIVAL THE BLUESEvening NewsTHE BEATLES, TOM JONESON TOP OF THE WORLDThe TimesUS HAS YEAR WITHOUTEXECUTIONDaily MailBY APPOINTMENT, MARZIPANAND NOISETTE MAKER TO THEQUEEN MOTHERIt can be revealed todaywhat the papers sayBACKGROUND NOISES ANDLAUGHTER

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Paul: (in disembodied voice)The awful tension of being lockedin each others arms snapped lastnight at TV rehearsal, andBeatles John, George andHarold . . . A few vicious phrasestook place.John: He, the mystical onewho lost so much of theBeatles' magic, she the nudy .. .Paul: It's only the suddenness oftheir decline from the status ofboys next door to the categoryof weirdies .. .John: (singing drowns out words)Early in the morningI'm giving you the warningDon't you step on my blue suede

shoes.Paul: It would be about themiddle of the 1960s(next few words inaudible)began to have a few spotsof rust. I would deliberately readRingo out of it, because he neverdeveloped any fetish towards thebizarre. Lennon was marriedhappily, McCartney was goingsteady and George Harrison wasabout to marry. Everything in theBeatle garden was rosy. But thatwas a long time ago. Havingscaled every known peak ofshow business the Beatles quitedeliberately . . never came homeagain. They went their ownprivate way, found their ownfriends and became less relianton each other for guidance andcomradeship . . SINGINGDROWNSOUT SPEECHJohn: (singing)Early in the eveningI'm giving you the feelingEverybody's nothingAnd nothing to lose.

Paul: Today all of them findacute embarrassment at thestories of one anothersadventures and conduct.Harrison's escapades with hisfavourite mystic from India .. .John: (singing)Hold my baby as tight as I canTonight she's gonna be a bigfat man

Oh baby with your rhythm andblues

Everybody's rockin tonightSINGER AND SPEAKER TRYINGTO DROWN EACH OTHER OUTPaul: Drugs, divorce, andslipping image play desperatelyon their minds and it appearedto them all that the public wasbeing encouraged to hate them ... capacity to earn is largely tiedup in their performances as agroup and until they are eitherrich enough .. .MUSIC DROWNS OUT VOICE ...irrevocably doomed . . .all over .. . they will never be exactly thesame again.

Half of What I Say

Paul: (singing, operatic voice)The blue horizon just for you .. .Ringo: Let's make it 'U' film. (Laughter)Lindsay-Hogg: That's the firstthing you ever said to me, inChiswick Park years ago whenwe did something, you said 'whatkind of a tree is that?' and I said, 'It's a Yew' and you said, 'No it'snot, it's a me,' and I thought thatwas so funny. God, I couldn'tstop myself from laughing.George: I don't think that'sfunny at all.Lindsay-Hogg: Wisteria?Paul: We should take someinstamatic shots of the crew.Well, I'm an MI 5 agent andlittle does he know that I knowthat he .. .Yes, and the crew is readingPlayboy.Lindsay-Hogg: Let's make asilent movie, yes—slow andspeed it up when we play itback, as they're always funny towatch.Paul: An 'X' film starring theMaharishi.John: (pontifical TV voice) Well, Iwould say that's a pretty conciseopinion of the youth today. Nowwe are going on to anotherdifferent group—a generation gap,and we have with us in the studiotoday Tumble Starker. Now whatdo you think about mock tudorhouses in Weybridge and placeslike that?Ringo: Well, I don't mindthem being in Weybridge.It's just when they put them inLondon I think they get in the

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way of all the traffic. You areso right, yes.John: You said yesterday,neither your arms nor yourelbow, I'll never forgetit. Well, it's a chance to speak, it'sthe only chance we get. Ringo: It's only Cliff doing his bit. Paul:Well, I left the clergy about '59 . . .the kids.Ringo: It all started with Rosie.John: Well, a lot of us startedwith Rosie. Actually, it wasrehearsal rules .. .Ringo: . . . funny dog collars.From then on in I never lookedback.John: Now you will noticethis bit of scaffolding that keepsleaping about the roof. It'smodern technology.Ringo: Watch out for thespy mikes.John: Since then the group hasbecome the hottest property inJapan due to being locked in asauna bath by Her Royal MajestyHo Ching Ming. Out tomorrow isour disc 'Come on in you will getpneumonia'. Your chance to win afab free Beatle—send in 39 disctops. Lindsay-Hogg: (moving inwith camera) Give me a verywide shot here.Paul: Everywhere the herowent he was on f i l m . . .peeping tom .. .Lindsay-Hogg: (framing shot)Yes, like that, yes.Paul: . . . for no apparentreason he was on film and thelittle booms came.John: This is life.Paul: This is cinema.John: No thank you, I'vealready seen it.

Paul: We could do a detectivefilm, not waste all this film likethis.John: Right ho. The story so far.Paul: Just, you know, thisafternoon's film—just a littleadventure story, and drunks, thepolice come and investigate thematter . . . cliff hangers .. . Cliffordwho peddled drugs and turnedstraight in the end.Lindsay-Hogg: Ringo as ateacher, kindly and wise.Ringo: That was this morning.Lindsay-Hogg: I know, I wastrying to revive it.John: Guest star Glyn Johns whoplayed a Mormon Cathedral.Lindsay-Hogg: George can be allthose things; Vicar and head ofScotland Yard too. Paul: The storyopens one bleak morning inDecember. John: Once upon atarmac there lived a smallbaggage who suffered incredibledistortion on his right leg. He tookit to all the doctors and they saidthat . . . One day .. . happy everafter .. .Yoko: (giggles)

Canaries in the Morning,Balloons at NightRingo: We're playing now likefour years ago.Lindsay-Hogg: Like we're alltwenty-eight now.Ringo: How can we bring rockand roll to Tripoli? Lindsay:Hogg: It's either Tunisia orTahiti or Tripoli. Ringo: Whatabout Gibraltar? (stonily)George: You know it's justimpractical to try and get allthese people and equipment there.Paul: Okay, yes, I'm sure we couldset it up, but it's like we're doing alive show and we're doing it inArabia and it's like whoever hasbeen waiting to see the lads rockingagain. So I'll tell you what, I'll comein with you as long as you get acouple of boats, like the QE2 andgive away the tickets here, as youwould have done, but ticketsinclude a boat journey as well.Right! We get a nice time and a bitof sun.John: I just find a good feelingabout singing in the sun, youknow, and singing as the sungoes down and the moon comesup. It would be like on the roof inIndia, but we would befully equipped, you know, justthe sun.Lindsay:Hogg: If you say Yesand if you get it together, thenwill you go?John: If we say Yes to thatthen don't bother about it, let'sleave it in the air and just thinkabout it.John: Yeh, but I mean we cansay Yes now and suddenly

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decide No tomorrow; it's notgoing to make any odds, let'sjust think about it.Ringo: I'll be watching Tele.George: I think the idea of theboat is completely insane.It's very expensive and insane.John: They have a fore and aft,you know. First class and belowwith the sheep pens.George: It'll have to be a bloodybig boat, it ' l l have to be biggerthan the Royal Iris.John: Aristotle's yacht, youknow.George: That's too small.Ringo: I want a liner, notjust a boat.Paul: Hold on, here comesFrance.George: France, I can't go toFrance.Paul: No, no, that's yourcode name.George: I smelt some garliconce. I don't think that you'regoing to get a perfect acousticplace by the water out of doors.John: I can just see us singing anumber at sunset or dawn. Justgentle, or at moonlight, thesmoke coming up.Glyn: We'll take a three day'sboat trip to Tripoli . . . thebeautiful sand.Lindsay-Hogg: We're going toAfrica! We're off on a boat! Ringo:For a rock and roll group? John:Yes, I think we cando rock and roll, and we canhave the change of day oversomething like this. We cando rock and roll there if we canget the right audience, because ifthey swing, we've got theright audience. Every time we've

done an album at EMI, we askWhy are we stuck in here? Wecould be doing it in a lake inFrance, and every time we do it,and here we are again buildinganother bloody castle around us.And not only would we be doing itmaking an album, but it wouldtake all that weight of What's-the-gimmick off of us. God's thegimmick. We could time it so thatthe sun came up just on themiddle eight, just like that.Lindsay-Hogg: Who votes togo? Where's one?Ringo: I move You-go-Slavia.Lindsay-Hogg: Sleep on it then.Paul: Cheerio, goodnight lads.John: Don't forget: a boat load ofmental deficiency and threedwarfs.Ringo: For Friday.Paul: Goodnight everybody.George: Goodnight Russia.

Councillor McCartney TellsThem Where It's At.Paul: (sings)Sweet Loretta Martin thought she

was a womanBut she was another man.All the girls around her saidshe's got it comingBut she gets it while she can.Get back LorettaGet back homeGet back to where you once

belonged :Paul: I originally wrote this as apolitical song .. .(sings)Don't dig no Pakistanis takin all

the people's jobsWilson said to the immigrantsYou'd better get back to yourCommonwealth homes Yeh-yeh-yeh you'd better get BACKHOMENow Enoch Powell well he saidto the folks .. .Meanwhile back at homeToo many PakistanisLiving in a council flatCouncillor . . . MacmillanGeorge: What about:Councillor McCartney tellsthem where it's at.Paul: But this song has turnedinto something else.(sings)Joe Joe was a man who thought

he was a lonerBut he knew it couldn't lastJoe Joe left his home in TucsonArizonaBought some California grass.GET BACK GET BACKGet back to where you once

belongedGet back homePaul: It should have rock and

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woman waiting for you, withhigh-heeled shoes and lipstick,get back to Tucson.Joe Joe left his home in Tucson,Arizona but he knew it couldn't lastPaul: No, that won't do .. . class,bass, mass, what about lookingfor another blast. Ringo:Thought it was going to be a gas.Paul: Hoping he would find a gal.Paul: It's just a little production (sings)Oh Commonwealth?John: (sounding like a Bostonmatron) Yes?Paul: Can you hear me,Commonwealth?John: Yes.Paul:I went to Pakistani, I went to India Ibeen to old Calcutta and to

sunny AfricaI'm coming back to England town.John: Yes? Welcome.

My mother was of the sky. Myfather was of the earth. But Iam of the universeAnd you know what it's worthQuestion: Last of all, John,what do you think of the idea ofseeing each of the Beatlesas part of one's mind? George,the spiritually aggressive part;you, the socially antagonistic andpsychologically exploring part;Paul, a kind of sweet andlonesome part; and Ringo, ahigh level down-to-earthdomestic part. It's like the fourparts of a person's mind.John: Yeh! When we make it we're one. When we don't, we're oneperson in turmoil. When Georgewalked out of the Twickenhamrehearsal one day after a sulkingdisagreement with John, thenewspapers reported the nextday that fisticuffs took place. 'It'snever come to that,' Georgereminded John the next day, 'except for that plate at dinner inHamburg.' Then everyonesang 'You Are My Sunshine,' anupbeat rocking version withGeorge's guitar soaring. Fourpersons coming together, tothemselves and to each other inmusic. ('If I don't play,'John said once during a song,'I lose myself').George: The apple wagonagain hits the road.John: Oh how I love that12 bar blues.George: It's so basic, but therearen't two twelve bars the same.John: Just like a drone.Paul: (singing the blues)I woke up this morningMilk cow at my door

John: Hallo Mudda Hallo FaddaHallo Brudda. (mumbles)Ginger Rogers Ginger Baker.Paul: Morning George.John: He's very pink, clean andeven washed in order.George: I thought I'd producethe talent of the day. I hearyesterday was good.John: It was goodGeorge: Good vibes, man.Paul: Yeah, good.Glyn: It was just a completeblank this morning, youknow, it was just .. .George: Mental block.Glyn: Yeah, got up, you know,leapt out of bed about half pasteight, Took Guy to school andthat, and then .. .George: Dragged a combacross me head.Glyn: Yeah, and I was just (sigh)Paul: What's that?A medley of songs:Hippy Hippy ShakeHigh Heeled SneakersWhen Irish Eyes Are SmilingOn Our Way HomeMUSIC21 take IPaul: Just for the time being,when it goes funny, I'll giveyou a wink and we'll do fourin a bar. It's one of thoseplaces where that'll fit. It goesinto like a waltz or something,you'll get the idea. One, two,three, four:

Two of us riding nowhereSpending someone's hardearned pay.You and me Sunday drivingNot arrivingOn our way bock home (wink)We're on our way home We'reon our way home

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We're going home.Two of us sending postcardsWriting letters on my wallYou and me burning matchesLifting latchesOn our way back home.You and I have memoriesLonger than the road that

stretches .. .OK, it goes to B-flat, B-flat, D-minor, G-minor, A-minor-stayon A-minor. A-minor 7th to D.You and me wearing raincoatsStanding solo in the sunTwo of us getting nowhereChasing paperOn our way back homeOn our way homeWe're going home.Middle A to B-flat.You and I have memoriesLonger than the road that stretchesout aheadTwo of us wearing raincoatsStanding solo in the sun .. .Whenever it goes 'On our wayhome' we'll just have to learnthat. It's supposed to be inharmony. It's a bit faceless.John: Yeah, it'd make a gooddemo for the group Grapefruit.Paul: No, it's all right, the song, it's just that we're not veryinterested in it yet.John: On the recording we coulduse an acoustic. For the electricwe've got to think of something.The problem is always the sameand the answer is always thesame. There's got to be a solutionthat stops it going dum-de-dum-de-dum. (sings) 'Two-of-us-ri-ding-nowhere' (stiffly)' Imagine StevieWonder singing it, but looser. (John carressingly slides into theline.)

Paul: Try to tart it up a biton those guitar breaks, George.I know I said not to, but it'sFriday today. Riffs are the onlything that will help all of us. Dosomething four in the bar with alittle kick to it.Two of us riding nowhere .. .(Ringo plays drum riff from 'Peggy Sue' as backing)Paul: It's a rough middle eight.Much better. Not so Sandie Shaw,it's more Maureen Boswell now.John: It needs sort of legmovement.Paul: (singing)In the sun everyone .. .I've got to got toI feel so good inside(to tune of 'Going Home') Canyou stop playing, John, while I'mtelling you about thisarrangement.John: Sure . . . 'Soo-oon behome.'(George plays long guitar solo 'Foxy Lady' with Yoko wailing)John: (sings)In the middle of the oceanThere's a tiny Bossa NovaCreating quite a commotion Babyit's still you I'm waiting for. Paul:All shook up.John: Grooving on a Sundayafternoon . . . only make believe.Paul:Through a London windowMy guitar and IWe sit and serenadeTill the dawn goes by.

The Queen of Sheba WoreFalsies.Paul: Come home, mum, allis forgiven.John: Well, it's been lots of fun.Paul: This is where it's at now —team work—a good defence anda line of forwards—a good strongpair of boots.John: You play ball with me and Iplay ball with you.Paul: Don't swing the leadsonny. Every cloud has asilver .. .Paul: MouthpieceJohn: Bognor Regis is a tartanthat covers Yorkshire. Rutland isthe smallest county.Scarborough is a college scarf . .And still the boon wasn't over,the Queen of Sheba worefalsies.Ringo: I didn't know that. John:Didn't you know that? Youweren't there at the time. (Johnand Ringo doing ventriloquistand dummy) Cleopatra was acarpet manufacturer.Ringo: I didn't know that.John: John Lennon. . .Ringo: A patriot.John: I didn't know that.John and Paul: (together)Goodnight, Dick.John: That was Lennon-McCartney . . . Great WesternRailway songs for all functionsRoss-upon-Wye .. .Ilford 2, Western Midlothiansterrible.Paul: This the typical endproduct of an actor's career.John: Alexander the Greatwas a big head or a fireplace.Why did they call it GreatBritain? How long is it going

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to go on? Fantastic France;Amazing America; Huge Spain.Ringo: I'll drink to that. When isa door not a door?Ringo: Two flies on a door,which one was sick?John: I don't know.Ringo: The one on the panel.John: I don't blame him. Why didthe chicken cross the road?Ringo: To get to the other side.John: You've heard it before.Ringo: What goes underwater, over water, and nevergets wet?Paul: All right, we can't carryon like this . . . can we?Ringo: I beg you .. .Paul: We can't carry on likethis indefinitely.Ringo: We seem to be.Paul: We seem to be but wecan't.John: I specialize in that field,you know.Paul: Tops in his field.John: Oh, yes, 9th best dressedmale pop star in the world, youknow, you're talking to-no meancity—yes.Paul: No nervous breakdowns.John: Look out, Tom Jones, Isay. (LAUGHTER DROWNSCONVERSATION)

What We Did OnOur HolidaysPaul: I was looking at the filmI did at the Maharishi's. Justto see what we were doing, it'sincredible.Ringo: What were you doing?John: Yeh, what were wedoing?Paul: I don't really know.But like we totally put ourown personalities under for thesake of it, and you can reallysee that.John: We were writing allthose songs. I filmed thehelicopter.Paul: Yeh, I saw you doing that.John: Each of my reels says: 'John Lennon's Reel', likesubtitles.Paul: There's a long shot ofyou, John, walking around. Weweren't really very truthfulthere. I mean, things likesneaking behind his backand saying, 'It's a bit likeschool, isn't it?' But you cansee on the film that it wasvery like school, and that,really, we should have said it.John: We should call i t :'What We Did On OurHolidays'.Paul: There's a long shot of yousort of walking with him,and it's just not you. (Laughing).More a sort of : 'Tell me, oldMaster' . . . Linda was watchingthe film and was asking: sittingon the roof, didn't you want to getout in it? In the villages, the bitthat 95 per cent of them weredoing, digging that place, all ofthem except for the converts onthe hill. If you want to be amissionary, you go out

and be one. But I don't think I'ddig that too much. I'd just go outand look at it . . . The Film openswith all the people who werethere—Cyn and Jane and Patty,the little American girl, it's all thesame shot, everyone sittingagainst the sky. Then there's abig white flurr, because it's achange of reel. It burns out whiteand then the sound track shouldstart. John: (singing)Flew in from Miami BOACDidn't get to bed last night Paul: (laughing) Yeh, it's like that, andthen Mike comes in. In the nextscene, it burns out white againand then there's just this monkeythat comes up and humps thisother monkey. It's great. It reallygets in there, and then they justjump off and walk away. Johncomes off the roof, and you looklike a student of philosophywith your tape recorder, John.John: I have all the soundtracks, too, I think.Paul: We should have .. .John: Been ourselves.George: That's the biggestjoke, to be yourselves. Thatwas the purpose.John: Well, we found out.George: And if you were reallyyourself you wouldn't be any ofwho we are now.John: Act naturally, then.John and Paul (singing):Gonna put me in the movie Gonnamake a big star out of me

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Transcript Poem no. IROLL 101 Slate 190 CAMERA ADate : 9.1.69.

MUSIC 13/50SONG '. . . come on home ..50/246BEATLE Who's gonna playsax...SONG/SPEECH INAUDIBLEOVER MUSIC 270/288 '. . . letMUSIC 270/288

.. let it be, let it be'288/326SONG cont'd . . . 328/BEATLE C to F. You'll get it,it's dead easy. I, 2, 3, 4 .. .SONG cont' d .. .

Transcript Poem No. 2 Br'erSausage, Br'er BaconLindsay-Hogg: Where did youget those drum boots? Ringo:Pierre Cardin, Par-ee, France.John: Br'er Sausage, Br'erBacon. We're both so country.Paul and John (singing) We'regoing ho-oo-me.Paul: I started off as a chippy, asa carpenter, 15 bob a week. Iwas a regular kid with a dogunder your arm, singing 'I missthat mother of mine,' how canyou miss?Paul: (singing)Come on now come on get ittogether come on come on nowcome on now John now come onnow get it together.John: (singing)Shoot me when I'm evilShoot me when I'm badShoot me when I'm hungryAnd shoot me when I'mRingo: What did you call thatone in your sleep, John? Paul:Don't Let Me Down

Blues . . . Again.John: Don't Let Me Down theRoad Again Blues Short FatFannie You're My Desire.Paul: (crooning)I left my heart in San FranciscoI got loaded in the bayI took my heart to VegasAnd this is what she sayGet out of Vegas with your craps

and your dice

Transcript Poem no. 3 WhyRabbits Don't Fly John:Shooting is exercise. Paul:Oh yes, especially for thebirds.John: We have given it up.Yoko: That is beautiful. John:Long tall Sally, pretty sweet, shegot everything Uncle John need,oh baby. Paul: Um, pheasantsdon't fly. John: Neither dorabbits. Paul: When they takeoff, people shoot them, that's theonly time they ever fly, whenthey get shot at or when theybeat them out of the bush. Comeon let's get shot up. They arewalking birds, they walk throughall the undergrowth, and thosefellas go in go beat, beat, beat,and there is nothing left to do butto fly . . . Shot! And you shouldsee them fly, just horrible, veryslow at first so you can just getyour aim and you've

got to wait until they are abovethe tree tops, then shoot. John:Never fly if they are beating thebush around you; that is whyrabbits survive. You see, theyrefuse to fly. Paul: This is adocumentary of how The Beatleswork.

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A Harry Song.

To whatever the soul of manturns, unless towards God, itcleaves to sorrow, even thoughthe things outside God andoutside itself to which it turns maybe things of beauty. They rise andset: in their rising they begin to be,and they grow towards perfection,and once come to perfection theygrow old, and they pass away.Therefore when they rise and tendtowards being, the more hastethey make toward fullness ofbeing, the more haste they maketowards ceasing to be. That istheir law. You have given them tobe parts of a whole: they are notall existent at once, but in theirdepartures and successionsconstitute the whole of which theyare parts. Our own speech, whichwe utter by making soundssignifying meanings, follows thesame principles. For there nevercould be a whole sentence unlessone word ceased to be when itssyllables had sounded andanother took its place. In all suchthings let my soul praise You,Creator of all things, but let it notcleave too close in love to themthrough the senses of the body.For they go their way and are nomore; and they rend the soul withdesires that can destroy it, for itlongs to be one with the things itloves and to repose in them. Butin them is no place of repose,because theydo not abide. They pass, and whocan follow them with any bodilysense? Or who can

grasp them firm even whilethey are still here?(Confessions of St. Augustine:Bk. IV, Chapter IX)Afternoon.George twanging, drums ambleon like lazy thunder,conversations without words.George whistles, Ringo catchesit, rockin pneumonia; bang! into 'Short Fat Fanny', a flash. Theguitar leans into the first note,howling, bending it, extending it,like a scream from an electricfan. George singing: Slippin 'nslidin with Long

Tall Sally,Peekin 'n hidin back in the alleyGotta rip it up, gonna dancewith Sally .. .She's my Tutti FruttiI love the chile soShe watch me like a HoundogEverywhere I go .. .Then slide into 'Midnight Special'. A country rain is falling, theguitar gently weeps, in thedistance a train whistle whinesround the horizon like a coyote.John is singing: Wake up in themorningHear the ding dong ringGo walkin on the tableHear the same damn thing .. .Let the midnight specialShine its ever lovin light on me.Clikin down that lonesometrack into the last verse,George ends with an R & B riff.John: B. B. King?George: Have you heard aboutthem? Albert King is the rockerone on Stax. He says he's B. B.'sbrother and B. B. says 'no he'snot my brother, baby.' One singsa song called 'Lucy' about hisguitar, and the other

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sings one about his guitarcalled 'Lucille!'Ringo: 'My guitar' by HenryGibson.'My guitar, plays so sweet,Really knocks me off my feet.'Thank you.George: I got a few slow onesdown here if you want.Paul: Yeah, well we've gotone down here we haven't doneyet. (Greyhound tour guide voice:) It's all down on your schedules.(now Father McCartney:) If youwill all turn to page 33 . . . 'AllThings Must Pass.' Now, if you'llall turn to begin at 'Sunrise', I'dvery much appreciate it. John: 1sthis a Harry song? George:There's no solo or anythingcomplicated about i t ; it's purelyrhythmical and vocal. If only wehad a Lowrie organ. Paul: Wesuddenly have one. George: Oh!Paul: (as fairy godmother:)With my magic wand.George: It's E, Fm, Am, A, and forthe end of the verse, 'All thingsmust pass.' 'Things' Bm, 'must' A,. . . actually though, it's E . . . it'slike playing with open Es all thetime. Paul: Straight through, then,I'll try and follow you.George: You've got to pretend tobe The Band on this one. John: Ihave been on all of them. George:(sings)Sunrise doesn't last all morning,A cloudburst doesn't last all day.Seems my love is upAnd has left you with no warning.It's not always been that grey. Allthings must passAll things must pass away.

Sunset doesn't last all eveningThe Mind can blow those cloudsaway.

After all this, my love is upAnd must be leavingIt's not always been that grey.All things must passAll things must pass away.All things must passNone of life's strings can last.So I must be on my wayTo face another day.Darkness only stays a night-timeWith the morning, it will fadeaway.

The light of day is goodAt arriving at the right timeNo it's not alwaysGonna be that grey.All things must passAll things must pass away.George: Hell! (George getsan electric shock from his guitar)Paul: Shoctric shocks! (asMusicians Union spokesman)Gen'Imen, oid loik to draw yerattention to this boy 'ere .. .George: Just got a belt man.Paul: Now we boys in the MU . . .goin to be some trouble over thisone. If this boy 'ere dies, yergonna cop it .. . (LAUGHTER).George: You know I'd really liketo do this one on acoustic. (George pronounces this word likethe call of an exotic tropical bird).But how'll we do it for the show,Glyn?Glyn: You can put it throughthe PA.George: Are we getting an8 track?John: Phone America, they'requick.Paul: What about EMI?Glyn: They've only got 4 track.

Paul: I know they got the 8track out for The Beach Boys (Texan voice:) 'n if theygot it owt fer the Beach Boys .. .George: (singing)Sunrise doesn't last all morning,A cloudburst doesn't last all day ...George: It's like Tim Leary, Isuppose; in his psychedelicprayers he had one . . . Iremember this from years ago: 'Sunrise doesn't last all morning'that gave me the idea for thisthing, apart from life . . . giving methe idea, that is. You see, thething I feel about the motion of itis, it's very Bandy. Rick, the onewho wrote really all the best ones,his thing is like . . (sings like 'TheWeight') la la la la laPaul: (playing sanctimoniouslyon the organ) Welcome ladees 'n gen'Imen to the LA Drive-In-Church .. .George: Drive-In-Drugstore.Paul: . . . this morning, FatherAnthony Langeles will preach asmall sermon, he hopes will beof interest to you and yours. (sings):Darkness doesn't last all day Gotto get some sleep anywayGeorge: See that thing, that one(points out organ peddal toJohn) do that with your toe. (Weird wah wah moans come outof the organ, like Jonah wailingunderneath the sea.) This guywho Paul is looking like fromThe Band, he's the organ,fantastic, he's into that sound somuch, it sounds likea synthesizer because the notesbend. The drummer is fantastic,he plays the guitar really, LevonHelm he's called, he's

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really like Coates cum up fromSomerset, and like he's got noneck and all these these whiskersand a happy smiling face. (ToRingo) You would go down abomb, you know, it's all Countryand Western, their favourite trackwas Ringo's because that's theirscene, living up in the woods, justsinging their songs .. .Paul: Looks like rain, doesn't it?George: On the vocal, after eachtime it says 'been that grey', I'dlike the backing group to sing likethe Raelets, 'all things must pass'lingering on. Paul: Do that bitagain then. (They sing 'All ThingsMust Pass' like 'Silent Night')Paul: If John sings what you'resinging, and I do the harmony,that'll be the Raelets. Have youheard that bit in 'Dear Prudence'where we did just those voices? Itreally sounded like a trick.George: The Band: the reason allthose people are singing differentlines is they all want to be thesinger, but where they're allsinging together it gets likediscipline where nobody iscrowding anybody else out. Youdig, baby? Paul: Yeah.George: 'You're so full ofbull, man.'Paul: What?George: Before you can pryany secrets from me, first youmust find the real me. Whichone will you pursue . . . Didyou see that?Paul: What?George: The BeardPaul: No.George: It's Jean Harlow and

Billy the Kid in eternity. It's justthe idea of two people on stageand all this audience ofdifferent people overhearingwhat they're saying. JeanHarlow says: "Before you canpry any secrets from me, firstyou must find the real me.Which one will you pursue?" Itends where she just sitson his knee, and then she sits inthe chair and spreads her legs .. .George: (singing)Darkness only stays the night timeWith the morning it will fade awayThe light of day is goodAt arriving at the right time.Paul: It's one of those, it'seasy but there's so much youcould do with it.George: Yeah, but it's mainlythis rhythmical thing. (They singthe whole song through. Thestressed words are like thecrests of a wave that breaksmoothly as they move throughthe lines.)

Sunset doesn't last all eveningThe wind can blow those cloudsawayAfter all this, my love is upAnd must be leavingIt's not always been that grey.Paul: (Brooklyn) In the beginingwuz de woid and de woid wuz .. .John: Go.Paul: . . . and he went.(They do an R & B version of'All Things Must Pass')John: Tie it to me, tie it to me!Paul: Shirt it to me, shirt it to me!John: You did introduce Oxfordbags to this country didn't you?Paul: I am an innovator inmany ways.John: Apart from your part

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time work, what are you doing?Paul: I do a lot of dramatic workin and out of the country.Presently I am working on aWelsh TV series called Land forWeken in which I appear as aDanish singer of royal blood whoturned to folk singing due to adisaster in the last war when theNazis bombed his house and hehad to move to Norway I think itwasI was born on the train betweenOstergrad and Finsborough.John: Jamaica?Paul: Sometimes. (Paul be inssinging a gospel type songCarry that weight .. .John: Woke up this morning, felta weight upon my head .. . and Ifound out it was my head. Paul:This song it's like the sort ofnormal troubles that everyonehas. You've got everything andeverything is going fine, but likethis morning, one of my eggsbroke . . . right shoe's a bit tight.(singing:)Boy you're gonna carry that weight.Many times I've been alone Manytimes I've cried .. . Paul: Have youany idea for the second verse.John: Many ways I've tried .. .Paul: That's all right then .. .Many ways I've tried. (They singthe song over again.) George: 1sthis where we drop out?John: Yes.Paul: Then we go intosomething encouraging.John: (singing)Yip yip yip yip yip yip yip Sha la lala Sha la la la la Ba dum

Mnum mnum mnum mnum mnummnumGet a jobPaul: (playing the organ,singing 'Piece of my Heart'like a lullaby)John: We spend a month doingthis, get to a good peak ofplaying and then we split. Paul:We should organize our careernow. Like the idea is to get us sowe quite enjoy this . . . then whatwould you like to do next? Wouldyou like to do a live show, lads?George: It's like hard work reallyto do it. It's a drag 'cos I don'twanna work really .. . have to getup at 8.00 and get into my guitar. . . 'You've got to play yourguitar now' and you're not readyfor it. But we've got to do that inorder to get the goods in . . . we've got to go through that bit ofcrap at the meetings until we gettogether again.Paul: I see it as just us working.George: There's so much to getout, and there's no one better toget it out with than us. Paul :Yeah.George: It's like when you writea song I get into it completely, Ifeel as if I wrote it. That waswhat was so good about the lastalbum, it's the only album so farI've tried to really get involved in.John: What time shall we gettogether tomorrow?Paul: 10.00?Ringo: Thinks 1 1.00, thinks 12.00.

In Which Doris GetsHer Oats.Lindsay-Hogg: 1s thereanything else you're writing?John: I was going to do 'Onthe Road to Marakesh,' whichis a sweet number, baby, asweet number. I was going touse a big thirties orchestra, butI don't think I've got theenergy. So I was going to useHawaiian guitar, I was going tobring my little Hawaiian guitarfor George. But I did 'Dig aPony' instead. (singing) I'd liketo beUnderneath the sea .. .John: 1s that a wide-angle lens?Lindsay-Hogg: Just a little widerthan regular.John: I like distortion .. . OK,'I dig a Pony ShemammaSheguggy.'(instrumental opening)John: Eric Clapton! Do it likeThe Beatles now. Rememberyour poom de-deh-de-deh-depoom! How could you forget it?I'll never forget.Paul: (sings)All I want is you.John: (sings)I uh ha-ha uh hai-hai dig a ponyYou can celebrate anything youwant

You can celebrate anything youwant

John: In 'I dig a Pony', Ringo,the tick-tock . . . it's no goodticking on any cymbal unless it'sthe high hat, 'cos each has got tobe as loud as the other, youknow, like a clock . . I hi-hi hi-hidig a groundhog You can penetrateany placeyou go

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You can penetrate any placeyou go

Ringo: It used to be 'I diga skylight.'John: Yeh, but I changed it togroundhog—it had to berougher. I don't care if skylightwas prettier.I pick a moondogYou can radiate everything you areYou can radiate everything you are Iroll a stoneyYou can imitate everyone you knowYou can imitate everyone you knowI feel the wind gloveYou can indicate everything you seeYou can indicate everything you seeJohn: We got lost, you know. Afterwe got to 'wind glove' I wentberserk.Paul: Like the wind he blew away.George: I hear the wind glove?John: Yeah, I've changed it to windglove now. I just make it up as I goalong . . . I dig a low bugadoo, I diga groundhog. Ringo: (screeching)Is that how you do it!Lindsay-Hogg: What was theone about icon?John: Oh, I con a Lowrie, but itdidn't sing well, so I changed itto Dug a Pony. It's got to be d'sand p's, you know.Ringo: It's his fault. It's hisfault all the time.John: 'I Dig a Pony' by CharlesDawtrey and the Deaf Aids.Phase One in which Doris getsher oats.Paul: Oh sometimes, John, Idon't know.Ringo: That tongue'll be thedeath of you.John: (musing) Slither wildly likea blind dog . . . as he crept awayacross my underpants. Oh I'm alyricist all right.

Paul: (manager's voice)Richard Rogers has nothingon this boy, absolutely nothing ... Lorenz Hart has nothing on hisboy either.John: (sings)I hi-hi hi-hi dug a boneyYou can syndicate every boat

you rowYou can syndicate every boat

you rowALL I WANT IS YOUJohn: Could do better.George: Have done.Paul: See me.John: We never seem to hit ittogether. We did it straight at theend and cockeyed at thebeginning.Paul: It's got a funny time. John:Shall we do the beginningstraight. (does simple riff) orsurprise them (baroque phrasing)?Paul: I dunno.John: Toss a coin.George: Straight. I' l l make itstraight if it sounds better.John: (sings)I dig a ponyYou can celebrate anything you

wantYou can celebrate anything you

wantAll I want is youEverything has got to beJust like you want it to.

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I was alone, I took a ride,I didn't know what I wouldfind there.Another road where maybe Icould see another kind of mindthere.

'If it weren't for the rocks in itsbed, the stream would have nosong.'(Carl Perkins—Rolling Stone,7th Dec. 1968)ALTERNATE-SIDE PARKINGIN EFFECTA history note:Today is the fifth anniversary ofthe arrival on these shores offour strange-looking young menwho called themselvesThe Beatles.No official celebration is planned. (New York Post, 7th Feb. 1969)Back at Apple the Fab Four arecompleting tracks for their newalbum anxiously awaited by theirmillions of fans. Wedrop in on them now during alull between takes:George: We should do analbum of old favourites. Aren'twe going to do any oldies butgoodies on the show?Paul: Could do.George: In America, ya know,they don't want all new ones . .they need something to identifywith aside from us.John: I've been doing a lot of 'Help' recently.Paul: 'Every Little Thing.' George:'Good Golly Miss Molly.' Paul: 'Lucille.'John: When I do it for the fans I'm slinging it like a jerky.Meanwhile I's thinkin . . . if it's aslow one we'll omit it . . . i f

it's a fast one we'll git it . . . Butthere are other presences here inthe brightly illuminatedsubterranean studio; summoned,conjured out of the darkness ofpast time: Carl Perkins, Jerry LeeLewis, His Majesty RichardPenniman, Antoine Domino, LarryWilliams, and The King, Elvis,eigth wonder of the world,radiating in his gold lame suit. Thespirits of Dylan, Mick, PeteTownshend, and The Band attendalso. Now somewhere in the blackmountain hills of Dakota .. . Johnputting on Jerry Lee's nasal yodel:The nooze is owht ahl over towenor Carl Perkins:Luvin you (deep growl)Is the natchral thong to doo(John and Paul doing a countryharmony)Paul putting on Little Richard'secstatic squeal:Looseeya, Looseeya .. .Little Richard's also present insome of the new songs. Hisphenomenal piling up of wordsto the bar:Paul:Well all these years I've been

wanderin' aroundWondering how come nobody

told meAll that I was looking for was

somebody who looked like you.A list of oldies played during therehearsals by the Beatles: StandBy Me, Baby I Don't Care, ThirtyDays, Hippy Hippy Shake, ShortFat Fanny, Fools Like Me, YouWin Again, Turn Around, BlueSuede Shoes, True Love, WrongYo Yo, Sure To Fall, Tennesee,

Maybelline, Johnny B. Goode,Sweet Little Sixteen, LittleQueenie, Roll Over Beethoven,Rock And Roll Music, SingingThe Blues, Midnight Special,Michael Row The Boat Ashore,She Said She Said, Devil In HerHeart, You Can't Do That,Hitchhike, Money, Three CoolCats, Good Rockin Tonight,All Shook Up, Don't Be Cruel,Lucille, Send Me Some Lovin',Dizzy Miss Lizzy, BeBop A Lula,Lotta Lovin', House Of The RisingSun, Tea For Two, Blowin' In TheWind, I Shall Be Released, AllAlong The Watchtower, HighHeeled Sneakers, It's Only MakeBelieve, Come On Everybody,Something Else, Bad Boy,Rock Island Line, Third ManTheme, Piece Of My Heart,Good Golly Miss Molly.Paul: We have got the sameproblem. It's the same thing overand over. You're wailing and I'mwailing but I suspect you may notbe wailing about the same thing, soI won't quite say it, I never quitesaid it.Sometime I hope to say it,I may never say it, if I don't, if Ido, it's like I said to you lastweek, you know it may take along time to get round to it, butyou will say it for me, you willeventually say something that Imeant to say, I know you willsay it.

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Yesterday,Things We Said Today.My baby said she's travelling on

the one after 909Move over honey, I'm travelling

on that lineMove over once, move over twiceCome on baby don't be cold as iceSaid she's travelling on the one

after 909.You're only fooling round, you're

only fooling round with me Moveover once, move over twice Come onbaby, don't be cold as ice Said she'stravelling on the one

after 909.Pick up your bag, run to the

stationRailman said you've got the

wrong locationPick up your bag, run right home,Then you find you got the

number wrong.Paul: I'm really pleased with

that, it's from one of the firstsongs we ever wrote.Glyn: John wrote it when hewas about 15, didn't he?Paul: Yeah, we used to sag offevery school day, go back to myhouse and the two of us wouldwrite: Love Me Do, Too BadAbout Sorrows. There's a lot fromthen. We have about a hundredthat we never reckoned becausethey're all very unsophisticatedsongs. (singing in a very dumbvoice)They said that our love was

just fun,The day that our friendship begun,There's no blue moon that

can seeThere's no blue moon in history andwe just thought 'great, too much,'but we hated thewords to 909.

He don't want to go to schoolto learn to read and write

just sits around the house andplays that rock and roll musicall night.

John was quizzical, studiedphysical science in the home

Late nights all alone with a testtube oh oh ohMaxwell Edison majoring in

medicine, calls him on the phoneCan I take you out to the pictures,John, a-a-on

But as he's getting ready to goa knock comes on the door

Bang bang Maxwell's silver hammercame down upon his head

Bang bang Maxwell's silver hammermade sure that he was dead. Back inschool again Maxwell

plays a fool again, teacher getsannoyedWishing to avoid an unpleasant

sceneShe tells Max to stay when the

class has gone away so he waitsbehind

Writes a thousand linesAnd as he's getting ready to go she

creeps up from behindBang bang Maxwell's silver hammer

came down upon his headBang bang Maxwell's silver hammermade sure that he was dead. InPaul's imaginary countryeven death is painless. Realityhas not been issued a visa,for this is Arcadia, the mirrorimage of the real world, wherebirds sing, and lyrics grow ontrees.I'll be on my wayTo where the winds don't blow

and golden rivers flowThis way I will goAs the June-light

turns to moonlight.'

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Paul McCartney, championof the softedge, a knight errantrescuing discarded sentiments,re-habilitating sensibilities thattime has hardened into cliches,animating,For well you know that it's a fool,

who plays it cool,by making his world a little colder.The components of Paul's songsare lovingly assembled like theparts in a vintage car. All themachinery is polished (it's a cleanmachine). Their excellence is howthey are put together; all thepieces fit beautifully. Crazy, lazy,frantic, Atlantic; words evoking awhole era. Bottled 20's essence;Astaire, talkies, the Black Bottom,Mickey Mouse is born.Rocky Raccoon, Eleanor Rigby,Maxwell's Silver Hammer,Honey Pie, Joe-Joe, the firemanwith an hourglass, Sgt. Pepper,Desmond and Molly Joneslive in this magic landscape:Happy Valley, White Christmas,Brigadoon, the imaginary countryin which all holidays, weddings,honeymoons and good times takeplace. Brief festivals of love set inthe drab day-to-day world. PennyLanehas its opposite in the 'real' world:1967 was the year of 'the month ofSundays', an attempt to regain the'golden age' under the banner ofSgt. Pepper.The chords, the progressions forbringing back the good old days,people and things that went beforeare as fixed as the forms of theraga.Paul: The Indians are satisfiedwith that one drone. If you'resatisfied with it, it's purer in a

way. The old tunes have a certainway of going (plays a fewchords on the piano) neverchange. Don't know too muchabout it myself, Dad knows.Paul and John: (singing)What's the use of getting soberOnly to get drunk again.The singing in the pub, tinkling theivories, ways of summoning thespirit of happiness, the craft of thebusker, the songand-dance man:this musician Paul has raised tothe level of magic. 'Roll up—rollup for theMystery Tour'All ballrooms, music halls aresituated in paradise; Arcadia, theLyceum, Orpheus, the Arcade. 'Atthe play, in the ballroom, eachone enjoys the possession of all'.(Intimate Journals—Baudelaire)Vaudeville, valley of the river Vire,an artificial paradise where theentertainers are the happyshepherds. It is also anexposure; the society in thebawdy skit, the exposure of thebody in the chorus line. Theexposure of the hypocrasyof the society that confineswonder and happiness to aSaturday night booze-up. Themusic hall artiste, stepping ontothe boards, contrasting themisery of his real existence withmagic of the show;Gather round all you clownsLet me hear you sayHey, you've got to hide your

love awayHey, you've got to hide your

love away.'Jude is terribly political,' Paulsays, and he means it literally.Political in the sense that Jude

is everybody singing together,singing to the blackbird waitingfor the millenium.Blackbird singing in the dead

of nightTake these broken wings and

learn to fly.All your lifeYou were only waiting for this

moment to arise.All Paul's songs take place onthe boards, on stage, but theBeatles have made the world astage. The stage, the song, art,are only possibilities,alternatives, to a life of anxiety, 'imagination alone tells me whatcan be,' said AndreBreton in the surrealistmanifesto. 'Can not the dreamalso be applied to the solutionof the fundamental problems oflife?'When I wake up early in the

morning,Lift my head, I'm still yawning.When I'm in the middle of adream,

Stay in bed, float upstream(float upstream),Please don't woke me, no, don't

shake me,Leave me where I am, I'm only

sleeping.Music is the great refusal toaccept the limitations imposed onfreedom and happiness by the so-called 'reality principle'. 'Fantasy isthe primeval, the ultimate andmost audacious synthesis of allcapabilities, in which all mentalopposites as well as the conflictbetween the internal and externalworld are united (Jung) There'snothing you can do that

can't be done

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Nothing you can sing that can'tbe sung.

Paul McCartney: maker ofdreams that can be inhabited,builder of bridges that we haveused to cross into the world ofthe possible.Ancient Welsh saying: A fobid bont. 'He who would behead, let him be the bridge.' Itsomes from the myth ofBe Bendigeidfran, who bridgedthe Irish Sea with his own bodyso that his people could crossover. Paul, a bridge betweenSgt. Pepper and Maxwell SilverHammer, the the Waltz and theWatusi, Penny Lane andStrawberry Fields, EleanorRigby and Molly Jones, GeorgeFormby and Stockhausen,Revolution and Rain, art and thecommercial, salt and pepper,yes and no, the dish and spoonthat will one day link arms, Andhand in hand, on the edge

of the sand,They will dance by the light of

the moon,The moon,The moon,

Over and OverPaul: When we finish this, I'vegot a feeling that we're justgoing to go off, like we did afterthe last album.John: Just give me a day or twoto finish off the bits and pieces.Paul: We still haven't got any aimfor what we're doing now exceptan album again. Our only aim isan album, which is like a verynon-visual thing. John: Albums iswhat we're doing at the moment.Paul: We're into albums asthe four of us, but I really thinkwe can be into other things, butevery time I talk about it I reallysound like I'm the show bizcorrespondent trying to hustle usto do a Judy Garland comeback,when really all I mean is, welllook, let's go into a studio, avision studio, after we've learnedall of these songs; a studio justas goodas this for sound. I mean, we gotmuch better takes after we movedfrom Twickenham to Apple. John:Here I like, it's like home. Paul:The thing that puts us in it, and theonly thing that's ever put us in it, isa novelty: we work on novelty.There's a new approach: if he says'Take' we Take, for the first time. It's going to be very hard to betterthe stuff we've got, even 'TeddyBoy' not having words, there's somuch in that. I said to Michael, justblacken this place one day andwhen we come in in the morning,what is it? You know, you've got tobe sneaky with The Beatles orelse we'll go on forever in a circle.

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We'll never get out of it.When you ask George what hewants to get out of it, he says 'No films.' But it's very wrongthat, and this is a film and nowhe doesn't mind this. What hemeans is, No Help, no HardDay's Night, and I agree. Butlike no TV shows, noaudiences! . . . When we cameback from Hamburg anddid Coventry or wherever it was,we played the Ballroom, worst firstnight thing, we were all nervousand it was terrible. Then weplayed another concert the nextnight and it got a little bit better.Next night, uhm, and the next:uhuum-oohm, too much.We got over that hang-up of theaudience, it was like there wasno one there, it was like a newsort of thing and there wassome fellow up front watchinghow you were playing and wewere right into it. If you could'verecorded those things, theywould have been the greatest.We'regood at that, once we get overthe nervousness. But the hurdleof nervousness is there. And wecan't get over that now unlesswe go to Albert Hall and get intoa black bag.There's no other way. We can'tthink our way out of it. And theonly alternative to that is to saywe will never do it to an audienceagain. But if we intend to keepany kind of contact on that scene. . . I do understand George justsaying, Well there's no point, youknow, because it's likeStravinsky and it's in the music

and Stravinsky doesn't sort ofget up and play his Joanna forthem anymore, you know. Hejust writes it and maybeoccasionally conducts it.John: George wants to do a happyshow with Dylan and Presley orwhat and that would be a lot.Paul: That's us again, us goingsilly again.John: It isn't. I think wemight do it.Paul: But do that oneafter we do one. I mean, thereis a show to be had out of whatwe've got here that's soincredible, and you don't have togo on the roof or go anywhere.You really only have to sing thesongs. And combined with thedocumentary material leading upto it, it's just an unbelievable thing,because you've got the twoelements. The only thing wehaven't got for every song is thesong. John: Tomorrow is the daywe have to sing the six or sevennumbers.Paul: The easiest way to finishthis show is just to sit here foranother few days, rehearse,rehearse, and rehearse all thenumbers and today startrehearsing the numbers one at atime and as George said, get aprogramme of what's going tofollow what. Just knock it off, justdo it. We really have to want todo a show at the end of it. I wassaying to Mal this morning,because he had a dream lastnight of us doing the show, andhe just said it wasincredible, and I said I'd loveto do that, just to play all these

numbers one afternoon at theSaville to some people, or all day,or as in Hair, just setting up,rehearsing as the people walk in,sit down, get sandwiches anddrink, and when we want to do atake we'd do sort of a take. Thenwe could do a couple of othersmall shows until we hit it and getover our nervousness with anaudience. John: I think it would bedaft of us not to play tomorroweven if it's a grand dress rehearsal.See how it goes, let's look how welooked, let's look at the rushes ofseven songs. If it turns out to behalf the show, half the end product,all right. If it doesn't, it's nodifferent from any other day. If wehadanother month to do allfourteen songs, it would still benice to do the seven now. Wehaven't time to do another sevensince Ringo has to go in twoweeks.George (arriving): I thinkit's going to take months to get itlike that. We should film it whilewe're recording ,but let's get itdone.Glyn: Yesterday you wereplaying the same song over andover. You were slogging it todeath. So today we tried to getyou to do three songs in one goso you had to think: what's thekey. That way you can't getbored.Lindsay-Hogg: Yesterday,you got terribly close to getting itright on a couple of the numbers,but as soon as you got that, itwould have meant one othertake.

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John: It was tiredness on mypart. It was a great strain toget through 'Don't Let MeDown' and the other one,just singing at that pace, being sotired. If we didn't have theweekend we couldn't have evenattempted yesterday. And I don'twant to use the energy I usedyesterday today becauseyesterday ruined today. George:That's if you're planning onworking up to doing it like this,playing again and again. We'rejust going to drop. We could haverecorded all these songs on tape.Lindsay-Hogg: At the moment,the documentary's like No Exit—it's going around and around.George: It's like a lot of thefootage, it's got to be thrownaway.Lindsay-Hogg: There's lots ofgood footage, but there's no storyyet. There's no payoff yet. Paul:We've done the film, we've donethe numbers enough. George:Let's get it down on tape.Paul: Glynn will get it down ontape. He'll take it when he thinks.John: If George wants to thinkthat while we're doing it we'remaking a record and if you wantto think that we're rehearsing,there's no answer. Paul: Wemustn't do 'Get Back' for threehours, it's just (plays bass riff).There are four individuals who arestrong individually. If we weredoing 'Thank Your Lovely Stars'we'd just go in and we'd do it. Iknow that's a silly analogy, butwe'd just do it. and we'd

have done the number.George: Do you want us torecord these numbers?Paul: If we're going to dofourteen numbers, let's get everychord off the fourteen numbersnow and stop remembering thatwe're still rehearsing. George:You want us to do what we vebeen doing for two weeks.Paul: Yeh, but get it togethernow instead of talking about theshow. So that we've got fourteensongs and so that when we'vegot it, we can either let it go,jump up, in the words of thefamous song, we can doanything, we can do anything welike with it once we've got it. We're talking about this abstractthing we're hoping to get, and bytalking about it we're not going toget it. John: Let's do it. We'retrying to do what you're sayingand we're trying to do whatGeorge was saying, butsometimes we can't cos we'retoo tired. So we might have abit more sleep.Paul: We've done our songs.We just collect all our thoughtson them and check throughto make sure you know the chordsand that I know the bass notes.John: When we've got thefourteen numbers off we'll be sosecure in that that maybe that'sthe time we'll say: Oh, anywhereyou want, we'll do them.Lindsay-Hogg: Shall we go onfilming until we leave here?Paul: What we're doing is stillrehearsing and we'll get ittogether.

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George: We'll collect our thoughtsand you collect yours about wherewe'll do the concert. Lindsay-Hogg: What about the rooftomorrow?Paul: We'll do the numbers.We're the band.George: I'll do it if you'vegot us on the roof.John': I'd like to go on the roof.I'll record the songs when youwant to do it. George: Anytimeis paradise. John: Anytime atall. You suggest where:Pakistan, the Moon, I'll still bethere til l you don't let medown. You'll be surprised at thestory that will come out of this. I'lltell you what I'dlike to do. I've got so manytunes, I've got my tunes forthe next ten years of albums.I'd like to do an album of songs. Itwould be nice mainly to get allthose songs out of the way. Andsecondly to hear what mine arelike all together.Any of us can do separate thingsas well and that way it alsopreserves the Beatles bit. Allthese songs of mine I could giveto people who could do themgood, but I suddenly realised, well. . . all that, I'm going to do me fora bit. With all these tunes, I coulddo them in a week at the most —record them all, remix, becausethey're all very simple. I don'tthink they need much. I mean witha Leslie, it's too much, just oneguitar.(singing)Because you're sweet and

lovely, girlI love you .. .

On The RoofHello to The DriftersCarl Perkins and Free)

Thursday: 30th Jan. 1969BEATLES ROCK APPLE ROOFAt lunchtime today, the Beatlessurprised passing office workersand mid-day shoppers with animpromtu concert on the roof oftheir Apple headquarters at 3Savile Row.Joined by organist Billy Preston,the Beatles performed : 'GetBack,' 'Don't Let Me Down,' 'OneAfter 909,' 'I've Got a Feeling,'and 'All I Want is You,' a few ofthe songs they had filmed whilerehearsing at TwickenhamStudios during the first twoweeks of January and, theprevious two weeks, at theirApple studio.After playing for about 40minutes, the police arrived inresponse to complaints aboutnoise and were admitted to thebuilding. The concert endedwithout interruption. 'On behalf ofthe group,' a Beatle said, 'wehoped we passedthe audition.'With the wind sweeping theroof and blowing through theBeatles' hair, it seemed as ifthe roof concert were occurringon shipdeck, Paul stomping onthe wooden planks, middle agedmen and women on an adjoiningroof waiting for the boat to arrive,boys and girlson nearby buildings lying againstthe roof slopes and waving, theBeatles smiling and singing toeach other and the wind: 'youcan syndicate any boat you row.'In the streets below,

milling members of the crowdoffered their reactions to theconcert:'Bloody stupid place to have aconcert. It just is.''You can't beat them. Style oftheir own. Lovely crowd.' 'Jollygood, nice thing to see at theend of the day.''Nice to have something freein this country.'And a woman named Eleanorlistened to a song and said: 'Ican't bear them. I can't see thatit makes sense. They woke meup out of my sleep.'When I wake up early in the

morning,Lift my head, I'm still yawning.When I'm in the middle of a

dream,Stay in bed, float upstream(float upstream),Please don't wake me, no, don't

shake me,Leave me where I am, I'm

only sleeping.The Moon say's goodbye,The Sun say's hello.

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