this blog is dedicated to transcribing the nagra reels: 97 hours of bootlegged audio from the beatles get back sessions
as you may or may not know, this project was started by someone who has since left the beatles community here on tumblr, but they have kindly let me take up the mantle for them. so huge thank you to them!!
ABOUT THE NAGRA REELS
in 1969, during the get back sessions, director michael lindsay-hogg was creating Let It Be, a documentary about the beatles. he filmed and recorded every moment of them in the studio, resulting in 97 hours of content on nagra tape recorders. (peter jackson used a lot of it for The Beatles: Get Back, but obviously not nearly all of it.) in short, the tapes were stolen, bootlegged, and eventually digitized. but there's still no full transcription of them publicly available, so that's what I set out to do!
thank you to: purple chick, pc_eclipse, hexer, rogerlancelot, and jameskg for doing all the hard bootlegging work in the 2000s.
i'm using the version available on the internet archive, as i do not have the patience nor the storage for flacs. lol.
INFO
my track title format is: Disc- TrackNo- Title DDSI
for example: D1- 08- Don't Let Me Down 2.01
the track tagging is not 100% accurate! it was done by jameskg, and a small bit of it is incorrect. in the name of a smooth readalong experience, i won't be fixing any of those errors. they're not huge ones anyway. i'm sure you won't even notice.
i'm using the format that the original blog kickstarted, and half of the first day heavily utilizes their transcriptions (thank you again!)
each day will be separated into posts corresponding with discs. if necessary, the discs MIGHT have to be separated into multiple posts. but that's insanely tedious, so i'm trying my best not to do that.
i'm using US spelling and grammar for everything because i am, in fact, american. sorry!
however. dates are going to be in dd/mm/yyyy format.
each post is going to be LONG. be warned.
i want this to be as accurate as possible, so please shoot me an ask/comment/dm if you find any mistakes!
ABOUT ME
my name is sash!
i'm 18 and doing this all on my own, so please be patient
Paul McCartney: [singing to himself] I got a feeling…
George Harrison: Mal?
Mal Evans: Yeah?
GH: Where are those other words out in the guitar case?
PM: [singing] I got a feeling, yeah / A feeling deep inside
GH: The other words, out in the guitar case.
PM: I got a feeling / A feeling deep inside, oh yeah / Oh!
GH: [chatting unintelligibly]
John Lennon: [singing] Oh yeah!
PM: I’ve got a feeling / A feeling I can’t hide / No no
JL, PM, & GH: Oh no!
PM: Oh no / Yeah, I’ve got a feeling!
JL & PM: Oh, please believe me / I’d hate to miss the train / Oh yeah / Oh yeah! / And if you leave me / I won’t be late again / No no / Oh no!
PM: No no / Oh, yeah! / I’ve got a feeling. / All these years I’ve been wandering around / Wondering how come nobody told me / All that I’ve been looking for was somebody who looked like you!
JL & PM: I’ve got a feeling / That keeps me on my toes / Oh yeah / Oh yeah
GH: Oh yeah!
JL & PM: I’ve got a feeling / That everybody knows! / Oh yeah / Oh yeah! / Oh yeah.
PM: I’ve got a feeling!
JL: Everybody had a hard year / Everybody had a good time / Everybody had a soft dream / Everybody saw the sunshine / Oh yeah / Oh yeah / Oh yeah / Everybody had a hard year / Everybody got their socks up / Everybody pulled their socks up / Everybody put the foot down / Oh yeah! [speaking] Oh yeah. I forgot a bit.
PM: [vocalizing]
JL: Just do the last- Wha- Go into the- The last “hard year.” [singing] Everybody had a hard year / Everybody got a feet up / Everybody pulled their socks up / Everybody put their foot down / Oh yeah.
JL & PM: [overlapping singing, I’ve Got A Feeling/”Everybody”]
JL: [speaking] I think that was three, but it doesn’t…
PM: It was about five, I think.
JL: No, ‘cause, it’s each one going over that bit.
GH: [unintelligible]
ME: What’s the word that you sing?
JL: Oh. “Everybody-” shall I write it?
ME: You want to?
D2- 02- I’ve Got A Feeling 3.57
JL: Oh, no, you better write it. “Everybody had a hard year.”
PM: Uh, the bit that I find the weakest now is [singing] All these years I’ve been wandering around!
JL: Yeah, that’s just power, y’know.
PM: [singing] Wondering how come nobody told me! [speaking] Maybe harmonies there. [singing] All these years- All these years.
JL & PM: [singing] All these years I’ve been [gibberish] like you!
JL: [speaking] “Everybody had a hard year, everybody had a good time.” Good time.
PM: [working out the harmony] All these- All these years I’ve been wandering around… / Wondering how- Wondering how / All these years I’ve been wandering around / Wondering how come nobody told me / All that I was looking for was somebody who looked like you. [chuckles] All these- All these years [speaking] Try-
JL: “Everybody saw the sunshine.” Sunshine.
ME: Yep.
JL: Okay. “Oh yeah, oh yeah.” That’ll do, for now. Then, “hard year.” I’m not sure actually, put brackets, “good year.” Uh. [singing to himself] Everybody had a hard- Every- [speaking] “Hair down. Socks up. Foot down.”
ME: Everybody pulled their socks up?
JL: Yeah. Yeah.
PM: [singing, comically] Everybody pulled their socks up!
JL: Foot down. Okay, that’s it.
ME: Right.
PM: Try that.
JL: Yeah.
PM: [singing] All these years- All these years I’ve been-
JL: Just sing your one.
PM: [singing] All- all- all these years I’ve been wandering! All these years I’ve been… ‘round / Wondering how come- [speaking] So if you could do…
JL: You’re singing B?
PM: Yeah, just sing the next harmony down, so it’s not too low for you.
JL: I don’t know what that is.
PM: [vocalizing]
JL: [singing] All these years- ALL- [speaking] No, that’s very high for me.
PM: Don’t shout. It’s power.
JL: [singing] All these-! [speaking] Oh, it’s terribly high.
PM: [singing] Been wandering around.
JL: [singing gibberish]
PM: Wondering how come-!
JL: [speaking] Down on the one note, is it?
PM: Yeah. [singing] All these years I’ve been wandering around / Wondering how come nobody told me / All that I’ve [gibberish].
JL: That’s very high, y’know.
PM: It’s like-
JL: [loudly singing gibberish] [laughs] Fuck it! I can’t. Isn’t there a-
PM: No, it’ll just be nice if we’re in thirds instead of, sort of, fifths. [singing] All these years! [speaking] One, two, three, four.
JL & PM: [attempting harmony] All these years- [screaming gibberish]!
JL: [speaking] Ah! It’s a bit early for that, isn’t it?
PM: Yeah.
JL: Early in the morning, you know. I’m not eighteen anymore.
PM: [unintelligible] Okay. [singing] All these years I’ve been wandering around / Wondering how come nobody told me / All that I’ve been looking for was somebody who looked like you!
GH: End on A?
PM: Yeah.
[instrumental]
PM: Do it again.
GH: One, two, three four.
PM: Try and do it less country.
D2- 03- I’ve Got A Feeling 3.58
[instrumental]
PM: [singing] I’ve got a feeling / A feeling deep inside / Oh yeah.
JL, GH, & PM: Oh yeah!
PM: I’ve got a feeling / A feeling I can’t hide.
D2- 04- I’ve Got A Feeling 3.59
JL & PM: [in harmony] Oh, please believe me / I’d hate to miss the train / Oh yeah / Oh yeah! / And if you leave me / I won’t be late again / No no no no.
PM: No, I said no / Yeah, I’ve got a feeling!
JL & PM: All these years I’ve been wandering around / Wondering how come nobody told me / All that I’ve been looking for was somebody who looked like you! / I’ve got a feeling / That keeps me on my toes, oh yeah / Oh yeah! / I’ve got a feeling / That everybody knows, oh yeah / Oh yeah! / Yeah, yeah.
PM: I’ve got a feeling! Yeah!
JL: [silly voice] Everybody had a hard year / Everybody had a good time.
PM: Good time!
JL: Everybody had a soft dream / Everybody saw the sunshine / Oh yeah, oh yeah, oh yeah / Everybody had a hard year / Everybody got a face lift / Everybody pulled their feet up / Everybody put their foot down / Oh yeah.
[instrumental]
JL & PM: [overlapping singing, I’ve Got A Feeling/”Everybody”]
PM: [shouting] Oh yeah! Oh yeah! You know I’ve got a feeling! Oh yeah!
[song ends]
PM: [speaking] Comin’ home.
JL: Aye.
PM: I’m trying to scream now to do that thing, like when you’re on tour and you lose your voice the first five days. I’m trying to sort of lose it. To get it back.
JL: Yeah.
PM: I nearly lost it yesterday.
D2- 05- I’ve Got A Feeling 3.60A
JL: It doesn’t just…
PM: [unintelligible]
JL: See, it might work that you don’t have to lose it, y’know. That’d be nice.
PM: But it’s great what you get after losin’ it. Y’know. The new one you get.
JL: Yeah.
PM: Bit of power, there.
JL: It’s that, I don’t want every time we’re doing Don’t Let Me Down that it hurts just to rehearse it. Once I crack.
PM: I just thought I’d tell you what I’m… the plan is.
GH: How many of those, um. Before, you know, in between the first bit of the tunes, the bit where John’s…
PM: Yeah. Yeah.
JL: What is it?
PM: What is it? There’s four. Four, but eight. [begins playing]
JL & PM: [counting the bars] Two. Three. Four.
[instrumental]
JL: [singing, silly voice] Oh, please believe me
JL & PM: I’d hate to miss the train.
PM: [speaking] That’s it. On those bits.
JL & PM: Hate to miss the train / And if you leave me…
PM: [speaking] The first bit.
JL: The first one isn’t.
PM: [singing] Oh please believe me
JL: That, normally, is just-
JL & PM: [singing] And if you leave me / Won’t be late again / Oh yeah.
JL: [speaking] I won’t “oh yeah” actually. I just do it without thinking.
JL & PM: [singing] Please believe me / I’d hate to miss the train
PM: Oh yeah.
JL & PM: Oh yeah! / And if you leave me / I won’t be late again / Oh no / No, no!
Jl & PM: [in harmony] I’ve got a feeling that keeps me on my toe- / I’ve got a feeling that keeps me on my toes- / I’ve got a feeling that keeps me on my toes.
PM: [speaking] Straight.
JL: Okay.
JL & PM: I’ve got a feeling / That keeps me on my toes, oh yeah / Oh yeah! / I’ve got a feeling / That everybody knows, oh yeah / Oh yeah! / Oh yeah.
PM: Yeah, I’ve got a feeling! [speaking] After that one, then we should definitely have a riff. Yeah. Like a definite thing, though, for a riff, y’know like maybe where you two could play it.
JL: I think for both songs now, once we got it, the next thing we do is to get riffs and all that.
PM: Yeah. Right. Yeah, that’s it, it’s like overdubs next. But there’s one place where it’ll come. [singing] That everybody knows! / Oh, I’ve got a feeling! [vocalizing] -body had a good year / Everybody had a good time, yeah. / Everybody had a good year.
[instrumental, unintelligible chatter]
GH: Is Kevin here, Mal?
ME: No. Well, he might be.
JL: He’s working with Jackie now.
GH: Is he?
JL: Yes.
GH: Is Jackie working?
ME: No.
[laughter]
ME: [unintelligible]
JL: I thought he’d gone with Jackie.
ME: Oh, no. It’ll be a couple months.
PM: [singing loudly] Oh yeah!
ME: It’ll be great for Kevin just to go on the road, y’know.
D2- 07- Unknown 3.61
JL: Should we learn a number?
PM: We must sort of- we must get really righter.
JL: Yeah.
PM: [vocalizing, chuckling]
D2- 08- Going Up The Country 3.62
PM: That Canned Heat number. I love that new one. Because it’s cornier than the last one, it’s not quite as good. But it’s great, yeah. “Up The Country” I think. [singing] I’m going up the country! [speaking] It’s just great.
Michael Lindsay-Hogg: I like the first one, this feels the same.
PM: Yes, I think so. It’s just got flutes playing it, and it’s a bit of a fruity thing they do. There’s no sort of- almost no soul in it, but it’s great ‘cause it’s just not quite.
GH: Almost no what?
PM: Soul. In the, sorta, y’know, they don’t bend the flutes or anything, but it’s great because they don’t. Just sort of [vocalizes flute]. And the end’s great, ‘cause they do like, a false end. It goes [vocalizes].
[slate]
PM: They keep going with the flute in the other.
GH: That big guy playing the guitar…
D2- 09- On The Road Again 3.63
GH: …can’t play it.
PM: [laughs] He’s just going- [strums] [silly voice] I’m so strong.
GH: [singing] On the road again.
PM: It’s all strong, that chord, isn’t it? That one. Oh, [unintelligible] 53.
D2- 10- One After 909 3.64
JL: [singing] Baby said she’s traveling on the one after 909!
JL & PM: Move over, honey, I’m traveling on that line / I said move over once / Move over twice / Come on baby, don’t be cold as ice / She said she’s traveling on the one after 909 / Begged her not to leave / Begged her on my bended knee! / You’re only foolin’ ‘round, only foolin’ ‘round with me / Said move over once / Move over twice / Come on baby, don’t be cold as ice / She said she’s traveling on the one after 909
JL: Pick up my bags.
JL & PM: Run to the station.
JL: Railman says…
JL & PM: You got the wrong location! / Picked up my bags / Run right home / Then I find / I got the number wrong / Said she’s traveling on the one after 909 / Said move over honey, I’m traveling on that line / I said move over once / Move over twice / Come on baby, don’t be cold as ice / She said she’s traveling on the one after 909
[instrumental]
JL & PM: Baby said she’s traveling on the one after 909 / I said move over honey, I’m traveling on that line / I said move over once / Move over twice / Come on baby, don’t be cold as ice / She said she’s traveling on the one after 909 / Pick up my bags / Run to the station / Railman says, you’ve got the wrong location
JL: Pick up my bags.
PM: [ad-libbing] Pick up my bags!
JL: Run right home.
PM: Run home.
JL: And then I find-
PM: Yeah!
JL: -I got the number wrong.
JL & PM: Yeah! She said she’s traveling on the one after 909 / I said move over honey, I’m traveling on that line / I said move over once / Move over twice / Come on baby, don’t be cold as ice / She said she’s traveling on the one after 9-0- / Said she’s traveling on the one after 9-0- / Said she’s traveling on the one after 909!
[song ends]
PM: Woo! [speaking] Okay! That was alright!
GH: Should do it.
PM: Oh, yeah. Sure. I think that’s- yeah.
JL: No, no, I’ve got a belter.
GH: [giggling] From about ‘48. 1948, that one.
PM: Just from the first ones. Really, that’s out of the past, that.
JL: I wrote that when I was about fifteen.
PM: It’s great that, though!
JL: It’s good.
PM: Incredible, isn’t it?
JL: I always meant to just change the words a bit and do something.
GH: It’s not worth it!
PM: [excitedly] But it’s- No, it’s great! One after 909, move over honey I’m traveling on that line. [giggling] Move over once, move over twice, come on baby, don’t be cold as ice!
JL: [singing] You’re only foolin’ ‘round-
JL & PM: You’re only foolin’ ‘round with me!
PM: [speaking] It’s great!
GH: Should we just practice that for a bit?
PM: Yeah.
JL: What?
GH: Or maybe we should just do it without practicing.
PM: [chuckles]
JL: What?
GH: Y’know, practicing will fuck it up.
PM: Yeah, right. We’ll sort of know- Y’know, we’ll just know where we’re going, we won’t sort of arrange it or anything. That’s it. That’s the arrangement.
GH: We’ll just have, uh…
PM: [to ME] Oh, you know, Mal. Nothing else.
GH: Verse, two verses, bridge. Verse.
ME: No?
PM: Grapefruit[?]
D2- 11- Because I Know You Love Me So 3.65
JL: Right. [singing] Wake up in the morning
JL & PM: I don’t feel blue / ‘Cause I know I’ve got you / Get a funny feeling all day and night / Get a funny feeling you don’t treat me right / Shoulda read your letter / And then I’d know / I woulda felt much better / Because I know you love me so
PM: [speaking] It’s just, we never did bit good, but I mean, it’s- [singing] Because I know you love me so! [speaking] But we always just- [singing] Because I know you love me so!
JL & PM: Wake up in the morning / I don’t feel blue / ‘Cause I know I’ve got you / Get a funny feeling all day and night / Get the funny feeling you don’t treat me right / Shoulda read your letter / And then I’d know / I woulda felt much better / Because I know you love me so.
PM: I woke in the morning / I don’t feel blue / ‘Cause I know I got you / Got a feeling all day and night / Get the funny feeling you don’t treat me right / Shoulda read your letter.
JL & PM: And then I’d know!
PM: Woulda felt much better / Because I know you love me so. [vocalizing]
D2- 12- Roll Announcement
[slate]
D2- 13- One After 909 3.66
JL & PM: [singing] Baby said she’s traveling on the one after 909 / I said move over honey, I’m traveling on that line / I said move over once / Move over twice / Come on baby don’t be cold as ice / Said she’s traveling on the one after 909 / Well I begged her not to leave and I begged her on my bended knee / You’re only foolin’ ‘round, you’re only foolin’ ‘round with me / Said move over once / Move over twice / Come on baby, don’t be cold as ice / Said she’s traveling on the one after 909
PM: Yeah, come on!
JL: Pick up my bags / Run to the station / Railman says, you got the wrong location / Pick up my bags / Run right home / Then I find I got the number wrong
JL & PM: Yeah! Said she’s traveling on the one after 909 / Said move over honey, I’m traveling on that line / Move over once / Move over twice / Come on baby, don’t be cold as ice / Said she’s traveling on the one after 909.
[instrumental]
[slate]
JL & PM: You got the number wrong, yeah! / Said she’s traveling on the one after 909 / Move over honey, I’m traveling on that line / Said move over once / Move over twice / Come on baby don’t be cold as ice / Said she’s traveling on the one after 9-0- / She said she’s traveling on the one after 9-0- / She said she’s traveling on the one after 909!
PM: [speaking] I never sort of knew what it was about before!
JL: No, I never…
PM: I mean, so she’s on a train.
JL: Yes.
PM: And he, sort of-
JL: He goes to the station and misses it.
PM: [laughing] But he goes back and finds it was the wrong number! So…
GH: Wrong location.
JL: To rhyme with station, you know.
PM: That’s great that he… Railman said you got the wrong location. Well. Great. Our kid’s [Mike McCartney’s] been saying you should do that for years.
JL: Yeah, he always liked that, didn’t he?
PM: We’d say “Well you know, Mike, you don’t understand about these things” y’know.
GH: I’ve always liked it.
PM: Yeah?
GH: Y’know, ‘cause the words. Most people don’t give a shit what the words are about. [chuckles]
PM: Yeah, right.
GH: As long as it’s just popping along.
PM: Yeah. It’s just ‘cause you don’t- y’know, you don’t- you forget that. You don’t sort of think they’re sophisticated enough. That One After 909, location, station and stuff.
JL: We always thought it wasn’t finished. Couldn’t be bothered to finish it.
PM: Pete Shotton was saying about-
D2- 14- I’ll Wait Until Tomorrow 3.67
PM: [singing] I’ll wait ‘til tomorrow / ‘Til you come my way / That’s why I sit here alone and I pray
JL & PM: I’ll wait ‘til tomorrow / Through a thousand setting suns / I’ll wait ‘til tomorrow / If tomorrow never comes
PM: [gibberish] I don’t know where she’s gone to
JL & PM: I may be wrong / I’m sure she’s [unintelligible] / But I’ll wait ‘til tomorrow / Through a thousand setting suns!
[slate]
JL & PM: Wait ‘til tomorrow / If tomorrow never comes.
GH: [speaking] Very country. Very country influenced.
PM: Oh aye.
GH: Those early numbers.
PM: Yeah!
D2- 15- A Pretty Girl Is Like A Melody 3.68
JL: [singing] Girl is like a macaroni!
D2- 16- Thinking Of Linking 3.69
GH: [strumming]
PM: [chuckles] Don’t think that ever got there, did it? [singing] Well I’ve been thinking of linking your loving / Tell me that…
[song trails off]
PM: [speaking] There are a few others that were alright. In their way.
D2- 17- Won’t You Please Say Goodbye 3.70
JL: [singing] Won’t you please…
JL & PM: Say goodbye / This love has long since grown cold / Won’t you please say goodbye / How many times must you be told? / Love has long since grown cold / Won’t you please say goodbye / How many times must you be told?
PM: [speaking] Won’t you please say goodbye?
GH: That sounded like…
JL: It was.
D2- 18- Bring It Home To Me 3.71
GH: …“Bring It On Home”
JL: It was. That’s what I got it from.
PM: [singing] Won’t you please…
GH: [singing] If you ever change your mind [mumbling]
JL, PM, & GH: Bring it to me / Bring your sweet lovin’ / Bring it on home to me / Yeah, yeah, yeah, yeah! / [mumbling] / Oh, bring it to me / Bring my sweet lovin’ / Bring it on home to me!
[instrumental and vocalizing]
PM & GH: Bring it to me / Bring your sweet lovin’ / Bring it on home to me!
D2- 19- Hitch Hike 3.72
GH: [singing] I’m going to Chicago / That’s the last place my baby stayed / And I’m packing up my things, gonna leave this town right away / I’m gonna find that girl / If I have to hitch hike ‘round the world / I’m gonna keep movin’ / The sign on the highway said / And I’m packing up my things, gonna leave this town right away / I’m gonna find her / If I have to hitch hike ‘round the world
GH: Well, it’s the last place my baby stayed / I’m packing up my things, gonna leave this town right away / Gonna find that girl / If I have to hitch hike ‘round the world! [speaking] That’s good. E minor.
D2- 20- You Can’t Do That 3.73
GH: [singing] I got something to say that might cause you pain [mumbles]
JL: I’m gonna let you down!
GH: Let you down!
JL: And leave you flat!
GH: Gonna let you down and leave you flat!
JL & PM: ‘Cause I told you before / Oh, you can’t do that! / It’s the second time I caught you talking to him / [mumbling] I think it’s a sin! / I think I’ll let you down
GH: Let you down.
JL: And leave you flat!
GH: Gonna let you down and leave you flat.
JL: ‘Cause I told you before / Oh, you can’t do that / Everybody’s green-
PM: [vocalizing]
[song trails off]
PM: ‘Cause I’m the one who won your love… You looking that way!
GH: Everybody’s green!
JL: ‘Cause I’m the one who stole your love / If they’d seen / You talking that way
JL & PM: They’d laugh in my face!
JL: If you wanna be mine / …I go out of my mind!
JL & PM: I’m gonna let you down / And leave you flat / … / Oh, you can’t do that!
[instrumental]
D2- 21- The Hippy Hippy Shake 3.74
PM: What was that tune? We were trying to think of one. Helter Skelter or hully gully.
GH: [singing] Hippy hippy shake!
JL: Oh yeah.
GH: [speaking] Five years ago we were singing that.
PM: [singing] For goodness sake / I’ve got the hippy hippy shake [mumbles] [speaking] I can’t fake the- [singing] Hippy hippy shake! / I can’t keep still / With the hippy hippy shake / I get my fill / With the hippy hippy shake / [mumbles] The hippy hippy shake!
PM & GH: Shake it to the left! / Shake it to the right! / Do the hippy shake-shake with all of your might!
PM: Then you shake! [speaking] Something like that, though.
GH: [singing] Do the hippy shake-shake-
GH & PM: With all of your might!
PM: Hippy shake-shake with all of your might! / Woo! [laughing] Then you shake / The hippy-hippy shake / Woo! / Yeah, shake! Ow! The hippy-hippy shake / Well, you shake it to the left / Shake it to the right / Do the hippy shake-shake with all of your might! / Do the hippy shake-shake with all of your might / Then you shake! / The hippy-hippy shake / Yeah, make it! / The hippy-hippy shake!
[slate]
PM: Shake it to the left / Shake it to the right / Do the hippy shake-shake with all of your might! / Then you shake / The hippy-hippy shake / Come on, let’s make it / Ow! The hippy-hippy shake! Yeah!
[song ends]
PM: [giggling] What was the-
GH: Let’s just go through that one. “Two of us on our way home” just before we have our lunch.
PM: Okay. Oh, we’ll never get that.
GH: Yes we will! I think that was the easiest.
JL: We’ll see how it was.
GH: To something.
PM: Okay.
GH: Is it G?
PM: Yeah.
JL: That’s you and I, then?
PM: Yeah.
JL: Lovely tune[?]
PM: Glyn was saying last night to do it with- [giggles]
JL: What?
PM: Lovely tune[?]. Glyn was saying to do it with two acoustics.
JL: Yeah.
PM: Might be alright, y’know.
GH: Who was saying that?
PM: Glyn.
JL: Well, unless we have something sensible to do on these, there’s no point.
PM: Right.
JL: Playin’ them.
PM: It might be nice.
GH: Yeah, well on the other hand it’s a bit like…
PM: Yeah. We’ll see how it goes, y’know.
GH: With this bit. [plays]
JL: Well, I mean, you could have one acoustic.
PM: One acoustic. It’s a bit that [silly voice] “And now, while George swaps us out, we’d like to…”
JL: Yeah, but I mean, we don’t have to worry about that.
PM: Oh, no.
JL: I think it’s just like we’re at the Cavern, y’know.
PM: Sure. [comically] Oh aye!
JL: “Just gettin’ a guitar, now. For the next one.” Just what happens. No speeches or anything.
D2- 22- Two Of Us 3.75
PM: One, two, three, four.
JL & PM: [in harmony] Two of us [gibberish] / You and me Sunday driving, not arriving / On our way back home / We’re on our way home / We’re on our way home / We’re going home / Two of us sending postcards, writing letters / On my wall / You and me burning matches, lifting latches / On our way back home / We’re on our way home / We’re on our way home / We’re going home!
PM: Keep going– You and I have memories longer than the road that stretches out ahead!
JL & PM: [vocalizing] We’re on our way home / We’re on our way home / We’re going home
[muffled dialogue from next track]
D2- 23- Two Of Us 3.76
PM: Let’s do the two middle eights the same.
GH: Yes.
PM: It was too-
GH: It wasn’t nice, that fast one.
PM: No, no, no. I never made it, y’know. I think it was a novelty more than anything.
GH: You can have that for the big band arrangement of it.
PM: We must get that middle eight… alright, y’know.
JL: Yes
PM: [chuckling] Don’t want it to be…
GH: We must get all- every bit of them all alright, really.
PM: [singing] You and I have memories longer than the road that stretches out ahead. [speaking] Hear what I hear on that one. Just do the middle eight again.
GH: Two, three, four.
PM: [singing] You and I have memories longer than the road that stretches [vocalizes] [speaking] I don’t know what, but something there.
[instrumental]
JL: It sounds like, uh… Lovin’ Spoonful. That’s why I keep playing [plays].’Cause I’m just rolling along with it.
PM: Good, okay. Play anything that’ll, y’know.
JL: Yeah, I mean, that’s why I’ve been playing that. Just, it sounds like one of them.
[slate]
PM: It’s a bit low for me. We’re learning this, and if we wanna try and- [singing] Two of us riding nowhere. [speaking] A bit more control needed when I’m down there.
JL: Yeah.
D2- 24- Two Of Us 3.77
[instrumental]
JL: [singing] Two of us riding nowhere.
PM: Yeah.
JL & PM: [in harmony] Two of us riding nowhere / Spending someone’s hard earned pay / You and me Sunday driving, not arriving / On our way back home / We’re on our way home / We’re on our way home / We’re going home / Two of us getting postcards, writing letters
PM: On my wall / You and me burning matches, lifting latches / On our way back home / We’re on our way home / We’re on our way home / We’re going home [giggles] / You and I have memories longer than the road that stretches out ahead
JL & PM: You and me wearing raincoats / Standing solo in the sun / Two of us chasing paper, getting nowhere / On our way back home / We’re on our way home / We’re on our way home / We’re going home!
[song stops]
PM: Memories…
GH: [speaking] It’s B flat first, then D minor?
PM: Yeah. That’s good, that. That’s the best way to keep going all the time. [strums] [singing] Two of us- [speaking] Come- yeah, we come in.
D2- 25- Two Of Us 3.78
PM: Two, three, four.
JL & PM: [in harmony] Two of us riding nowhere / Spending someone’s hard earned pay / You and me Sunday driving, not arriving / On our way back home / We’re on our way home / We’re on our way home / We’re going home
PM: Two of us sending postcards, writing letters / On my wall / You and me [gibberish] / On our way back home / We’re on our way home / We’re on our way home / We’re going home / You and I have memories longer than the road that stretches out ahead / You and me wearing raincoats, standing solo
JL & PM: In the sun / Two of us chasing paper, getting nowhere / On our way back home.
PM: We’re on our way home / We’re on our way home / We’re going home / You and I have memories longer than the road that stretches out ahead / Two of us wearing raincoats / Standing solo in the sun / You and me getting nowhere, chasing paper / On our way back home / We’re on our way home / We’re on our way home / We’re going home / We’re going home! [chuckles] [speaking] Going home! That’s right! We’re going home!
[song ends]
PM: So maybe you should sing the melody. [singing] Two of us riding nowhere / Spending someone’s hard earned pay / Two of us Sunday driving, not arriving / On our way back home! / We’re on our way home / We’re on our way home [speaking] Do you wanna do that? Go through it singing that?
JL: It’s just hard when you get to the [plays].
PM: Well, do another thing there, then.
JL: I’ve just gotta get out of it, though.
PM: Okay.
D2- 26- Two Of Us 3.79
PM: One, two, three, four.
JL & PM: [in harmony] Two of us riding nowhere / Spending someone’s hard earned pay / You and me Sunday driving, not arriving / On our way back home / We’re on our way home / We’re on our way home / We’re going home
PM: [giggles]
JL: [unintelligible]
JL & PM: Two of us sending postcards, writing letters / On my wall / You and me burning matches, lifting latches / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
PM: You and I have memories longer than the road that stretches out ahead
JL & PM: Two of us wearing raincoats / Standing solo in the sun / You and me chasing paper, getting nowhere / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
PM: You and I have memories longer than the road that stretches out ahead
JL & PM: Two of us wearing raincoats / Standing solo in the sun / You and me getting nowhere [gibberish]
PM: [speaking] George? It’s, uh-
GH: [plays notes]
PM: Yes. Yeah. There’s like, a top note. [singing] You and me wearing raincoats / Standing solo, in the sun
JL & PM: You and me chasing paper, getting nowhere / On our way-
PM: We’re singing it.
GH: Just sing it.
PM: Yeah. Two, three, four.
JL & PM: Two of us [gibberish]
GH: [speaking] Like, move down?
PM: Try it the other way now, try it with just saying the words. Two, three, four.
JL: [singing] Two of us-
PM: Two, three, four.
JL & PM: [vocalizing]
PM: It sounds nicer, doesn’t it?
GH: Yeah, okay. [vocalizing]
D2- 27- Two Of Us 3.80
PM: Okay, one, two, three, four.
GH: From the top?
JL & PM: [in harmony] Two of us riding nowhere / Spending someone’s hard earned pay / You and me Sunday driving, not arriving / On our way back home / We’re on our way home / We’re on our way home / We’re going home! / Two of us sending postcards, writing letters / On my wall / You and me burning matches, lifting latches / On our way back home / We’re on our way home / We’re on our way home / We’re going home!
PM: We’re going home! / You and I have memories longer than the road that stretches out ahead.
JL & PM: You and me wearing raincoats / Standing solo in the sun / You and me chasing paper, getting nowhere / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
PM: [speaking] Something there. [singing] You and I have memories longer than the road that stretches out ahead
JL & PM: Two of us wearing raincoats / Standing solo in the sun / You and me chasing paper, getting nowhere / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
[song ends]
PM: Should we go somewhere, or… have a drink of tea or something?
GH: Lunchtime.
PM: Is it?
D2- 28- All Along The Watchtower 3.81
PM: Great.
GH: [singing] There must be some way out of here…
PM: [speaking] They call it the door.
[chatter, people leaving]
GH: There’s too much confusion / I can’t get no release. [speaking] There seemed to be some people fixing your car when I arrived.
PM: Yes. It’s the windscreen washer.
GH: Oh! Are they still here? Mine doesn’t work either.
PM: Well, Mal will get them to do it.
GH: Mal?
PM: Tangerine!
GH: Are those people still here doing Paul’s car?
ME: Yeah!
PM: Tangerine.
ME: They’re washing yours as well.
PM: Tangerine.
GH: Washing it?
PM: Tangerine.
GH: Oh, are they? Very kind of them.
JL: Wash-a-roonie.
GH: Paul? Who are they?
[shuffling, chatter]
D2- 29- Dialogue
PM: [posh accent] It wasn’t what one might’ve thought would be the application of smell-o-vision.
[laughter]
PM: It was just, uh… I can’t remember, of course, ‘cause it was so incredible. I’ll try and remember. And someday I’ll…
MLH: Let me know.
PM: Let you know.
MLH: I think it’s a really bad idea.
PM: Smell-o-vision?
MLH: Yeah.
PM: Yeah, I’ve always thought. But this thing, y’know, I thought… [pause] I mean, uh. I can’t remember, of course. [chuckling]
MLH: Very bad idea. [to Tony Richmond] You worked on those pictures?
Tony Richmond: [chuckles]
PM: Smell-o-vision?
MLH: Tony’s busting up [unintelligible].
PM: [giggles] It’s known as the giggles at tea. Over Sunday tea. Me and my brother used to get ‘em, it was terrible. ‘Cause it was so funny, y’know. And we’d just collapse, y’know. And you knew you shouldn’t be.
MLH: Like church giggles?
PM: Made it funnier. Yeah.
MLH: Like church giggles, yeah.
PM: Tea, or something like, we’d done something wrong, and it was just a scream, man.
MLH: The reason I’m not an actor anymore is—one, I wasn’t very good, and I wasn’t hired very much.
[laughter]
MLH: Also, that when I was acting I was 17 years old and 240 pounds and to top it off, what I always used to do on stages was break up! Especially in Shakespeare, which was the only thing I could get into. And any time- Shakespeare just creases you! With those death scenes. Big crowds, a bunch of people debagging everybody, y’know, in the background. Shakespeare is great that way. He also wrote a few good words.
D2- 30- Sun King 3.82
[instrumental]
[giggling]
PM: It’s nice, that purple.
GH: [testing mic] Hello.
JL: Hello, George.
PM: [giggles]
JL: Hi, Paul, it’s simply great for you to turn up this evening.
D2- 31- Improvisation 3.83
PM: [singing to himself] Well..!
JL: Should just have one audience.
GH: The Animals reunited.
JL: Just one perfect audience of one person. Or a family. Just us in all great gear and a big, big show. Just one special family.
MLH: What, just for like eight people?
JL: Yeah. We’ll have the most fantastic show on earth, and just these eight people just [claps].
D2- 32- Improvisation 3.84
[instrumental]
[whistling]
D2- 33- Short Fat Fanny 3.85
PM: Should we learn another one? A new one?
GH: [singing] Slippin’ and a-slidin’ with long tall Sally / Peekin’ and a-hidin’, duckin’ back in the alley / Gotta rip it up, gotta dance with Sally / Brand new lover, name is Short Fat Fanny / One day when I was visiting the Heartbreak Hotel / That’s where I met Fanny and she sure looked swell! / Told her that I loved her, never leave / Put her arms around me, gave me squeeze / She’s my tutti-frutti, love the child so / Watch me like a hound dog everywhere I go / Her arms around me, P’s and Q’s
GH & PM: She might step on my blue suede shoes!
GH: At a honky tonk party the other night / Fanny got jealous and started to fight / ‘Cause I was dancin’ with Marylou / I had to call Jim Dandy to the rescue
GH & PM: Short Fat Fanny, she’s my heart’s desire
GH: Short Fat Fanny sets my soul on fire / One day we were married on Blueberry Hill
PM: Now we’re so happy and I love her still!
GH: …Tutti-frutti and I love the child so / She watch me like a hound dog everywhere I go / Arms around me, my P’s and Q’s / She might step on my blue suede shoes / At a honky tonk party just the other night / Fanny got jealous and she started to fight / Because I was dancing with Marylou / She had to call Jim Dandy to the rescue / Short Fat Fanny she’s my heart’s desire / Got the kind of lovin’ sets my soul on fire / One day we were married on Blueberry Hill
[song ends]
ME: [unintelligible]
PM: No, I don’t know. What number should we do next?
D2- 34- Midnight Special 3.86
JL: [singing] Wake up early in the morning / Hear the ding-dong ring
JL & PM: Go to the table / See the same damn thing / Knife and fork are on the table / [gibberish] in my hand / When you go to the captain / Says the same damn thing / [gibberish, giggling]
JL: Get in trouble with the man!
JL, PM, & GH: Let the midnight special / Shine a light on me / Let the midnight special / Shine its everloving light on me / Wake up early in the morning / Hear the ding-dong ring
JL: Go walking to the table.
JL & PM: See the same damn thing!
JL: Knife and fork are on the table / A piece of paper in my hand / When I tell it to the captain
JL & PM: I get in trouble with the man / Let the midnight special / Shine its light on me / Let the midnight special / Shine its everloving light on me / Let the midnight special / Shine a light on me / Let the midnight special / Shine its everloving light on me!
JL: Shine its everloving light on me!
PM: On me!
[song ends]
D2- 35- When You’re Drunk You Think Of Me 3.87
GH: [singing] Well, you’re drunk, you’re drunk-
PM: [laughs]
[playing and vocalizing]
D2- 36- What’s The Use Of Getting Sober 3.88
GH: Pardon?
JL: [singing] What’s the use of gettin’ sober
GH: [unintelligible]
JL: When you’re only gettin’ drunk again!
PM: [chuckling]
D2- 37- What You Wanna Make Eyes At Me For 3.89
GH, JL, & PM: [singing] What do you wanna make those eyes at me for / If they don’t mean what they say / You made me glad, you made me sad / [gibberish] dynamite! / You’re fooling around with me now / [gibberish] / Well, that’s alright / …Alone tonight / And baby you’ll find a bundle of dynamite / So what do you wanna make those eyes at me for / When you don’t mean what they say!
PM: You don’t mean someone new!
GH: Someone new!
[song ends]
GH: [speaking] B.B. King!
PM: [chuckling] B.B. King. What a man, what a man.
GH: Have you heard about them? Albert King was the rocker one on Stax, the groove. And he said he’s Albert King’s- er, B.B. King’s brother, and B.B. King says, “No he’s not! He’s not my brother, baby!” And they both- one sings one called “Lucy” about his guitar, and the other one sings one called “Lucille” about his guitar. It’s too much, just what he’s singing.
D2- 38- Money (That’s What I Want) 3.90
GH: I’ve got a few slow ones if you want.
PM: Okay, yeah. We’ve got one down here that we haven’t done. That’s all written out on these schedules. [silly voice] If you will all now turn to page 33.
GH: Oh, it’s gettin’ very, uh… “She came in from Birmingham on a silver spoon”?
PM: [laughs]
GH: Is that it? She Came In Through The Bathroom Window?
PM: No, All Things Must Pass.
GH: “Bang-bang, Maxwell’s hammer!” It’s really getting into a show.
JL: Bottom’s up!
PM: If you’ll all turn now to “Sunrise” I would very much appreciate it.
JL: Is this a Harrisong?
PM: Yeah.
GH: It’s uh, yeah.
ME: John?
JL: Yes?
ME: Do you have any written down I can copy?
JL: No.
PM: [chuckles] No, I mean, it should take minutes.
JL: I’ve got one verse of one out. I’ve got one. Gimme Some Truth, or something. In my guitar case.
PM: [laughs] Something like that. Gimme Some Truth or something.
JL: We could finish that. I remember your hangman bit.
PM: Yeah.
D2- 39- Give Me Some Truth 3.91
JL: It was alright.
PM: No, no- No freaked-out yellow-bellied son of Gary Cooper gonna…
JL: Yeah.
PM: Sellin’ dope, or something. Gotta hope. It’s just money for rope. [singing mumbled lyrics] -dope!
GH: How many other guitars am I?
JL & PM: [singing] Money for rope!
GH: What have we got? Electric?
PM: Freaked-out, yellow- [speaking] It started in D, didn’t it?
JL: Yeah. That was my bit.
[overlapping singing]
PM: Yours was in E, wasn’t it?
JL: No, it was in D.
PM: Oh.
JL: [mumbled singing]
JL & PM: [singing gibberish] -money for rope!
GH: [speaking] If we had, uh-
JL & PM: Money for rope!
PM: No freaked-out, yellow-bellied son of Gary Cooper gonna [gibberish] dope!
JL & PM: Ain’t gotta hope! It’s just money for rope!
PM: [giggles]
JL: Sick and tired of hearing lines-
PM: [speaking] Oh yeah. No, it was in D and E, though. My bit was in E. ‘Cause then it’d go [plays]
JL: No, it didn’t.
PM: Maybe add capos, then.
JL: Oh yeah.
D2- 40- All Things Must Pass 3.92
JL: Anyway, we do need to change, ‘cause mine’s too low. [singing to self]
PM: Yeah, right.
GH: Uh, this is really, if we can, uh. Because there’s no solo or anything complicated, it’s purely just rhythmical and vocal. Then if we suddenly had a Lowrey organ, then-
JL: What key is it?
GH: -you’re invited to play it. E.
PM: We suddenly have one.
GH: Oh!
PM: [laughs] Bing! [silly voice] Then by my magic wand!
GH: Can we have a Leslie speaker, Mal, with that Lowrey organ? Can you plug him in?
JL: [unintelligible]
GH: We’re pretending to be The Band for this one.
[instrumental]
PM: How’s that for your shot?
[unintelligible chatter]
GH: Paul? The chords.
PM: Okay, just show us the chords.
GH: Yeah, okay, but the thing is there, really like E, F sharp minor, A flat minor, A. And the end of the verse, the all things must pass, it’s E minor to A.
PM: Alright.
GH: But it’s playing with open E’s all the time.
PM: Oh, okay. Okay.
D2- 41- All Things Must Pass 3.93
PM: Just play it through then, and I’ll try and follow you.
[instrumental]
GH: [singing] Sunrise doesn’t last all morning / A cloudburst doesn’t last all day / Seems my love is up and has left you with no warning / It’s not always been that grey / All things must pass / All things must pass away / Sunset doesn’t last all evening / A wind can blow those clouds away / After all this, my love is up and must be leaving / It’s not always been this grey / All things must pass / All things must pass away / All things must pass / None of life’s strings can last / And I must be on my way and face another day / Darkness only stays…
Paul McCartney: [singing] Oh, darling, please believe me / I’ll never do you no harm / Believe me when I tell you / I’ll never do you no harm / Oh, darling / Please believe me / I’ll never do you no harm / Believe me when I tell you / I’ll never do you-
D1- 03- Oh! Darling 3.02
[slate]
D1- 04- Unknown 3.04
[instrumental]
D1- 05- Maxwell’s Silver Hammer 3.05
PM: [singing] Joan was quizzical / Studied pataphysical science in the home / Late nights all alone with a test tube, oh-oh-oh-oh / Maxwell Edison, majoring in medicine / Called her on the phone / Can I take you out to the pictures, Joan? / But as she’s getting ready to go / A knock comes on the door / Bang bang, Maxwell’s silver hammer came down upon her head. / [vocalizing] Clang clang, Maxwell’s silver hammer makes sure that Joan was dead. / Joan was dead.
Ringo Starr: [imitating Paul]
PM: [laughs] [silly voice, gibberish]
PM & RS: [vocalizing, whistling]
PM: [singing] Back in school again, Maxwell plays the fool again / Teacher gets annoyed / Wishing to avoid an unpleasant scene / She tells Max to stay when the class has gone away. [vocalizing] / But as he’s getting ready to go. [mumbling] / Bang bang, Maxwell’s silver hammer came down upon her head.
RS: [laughs]
PM: Clang clang, Maxwell’s silver hammer made sure that Joan was dead / Sure that Joan was dead / She’s dead. [vocalizing]
[instrumental]
RS: [singing quietly, unintelligible]
Michael Lindsay-Hogg: Now, do you guys have any sense of being filmed there?
RS & PM: [laughing] No!
D1- 06- Adagio For Strings 3.06 - D1- 07- Adagio For Strings 3.07
[instrumental]
D1- 08- Tea For Two Cha Cha 3.08
[instrumental]
PM & RS: [giggling]
[instrumental]
PM: I didn’t quite get the chords. [chuckles]
MLH: That’s very madcap for early in the morning.
PM: [silly voice] Well, y’know. We are very madcap.
PM: [overlapping singing] The battery boy / Torchy, the battery boy / Pull my tail, [gibberish] slit my throat.
RS: [chuckling]
PM: Torchy, Torchy, the battery boy.
D1- 13- Whole Lotta Shakin’ Goin’ On 3.13
[instrumental]
PM: [singing] Well, come on, baby, whole lotta shakin’ goin’ on. Yeah, come along baby, ooh.
[instrumental]
D1- 14- Unknown 3.14
[instrumental]
D1- 15- Let It Be 3.15
[instrumental]
PM: [humming] [singing] When I find myself in times of trouble, Mother Mary comes to me / Speaking words of wisdom, let it be / And in my darkest hour, she is standing right in front of me / Speaking words of wisdom, let it be. / Let it be, let it be / Let it be, let it be. [humming]
[instrumental]
D1- 16- Unknown 3.16
[instrumental]
RS: Hi, George.
George Harrison: Sorry for being late, but I…
PM: John’s late.
GH: …fell asleep again.
[instrumental]
GH: [unintelligible] Would you like to sing us a song?
MLH: Okay, we can cut cameras now.
PM: [muffled, eating] I think you’d better cut cameras now. Should be able to give you a wink when you feel it’s not coming on. I just knew I’d never, y’know. I knew I wasn’t sort of moving and all that. So I really just should’ve gone… and you would’ve said [snaps] “Okay, yeah.”
MLH: No, no, that was fine.
PM: No.
MLH: That was nice.
PM: You know what I mean? I just sort of knew in that, I wasn’t really singing anything or doing anything.
MLH: Say that again.
PM: [laughing] Yeah. [thick Liverpool accent] That’s uh, y’know, where it’s at, I suppose.
MLH: See, what we did, is like. What we’re doing in a lot of it, like, we had like a two-shot, not seeing your fingers, we could lay any of the tracks over it. Anything pretty. You see, we might need a bit of mood in the middle of all the rock ‘n’ roll you’re playing.
RS: Oh, yeah. The bounty[?].
MLH: Yeah.
RS: Something to slow the pace a bit. [chuckling]
MLH: Exactly, yeah.
[laughter]
PM: Got three more slow ones.
GH: Beatles Book.
PM: [chuckles] Good this month?
GH: Seems to be getting older and older.
PM: Deteriorating.
RS: Slipping back into its old ways.
GH: Yeah. And it seems to be a good thing.
D1- 17- Taking A Trip To Carolina 3.17
RS: [singing] Taking a trip on an ocean liner / I gotta get to Carolina / Taking a trip on an ocean liner / I gotta get to Carolina / Taking a trip on an ocean liner / I gotta get to Carolina / Taking a trip on an ocean liner [humming].
PM: [background, unrelated] Fuck off. [laughing]
GH: [unintelligible]
D1- 18- Unknown 3.18
[instrumental]
[unintelligible chatter]
D1- 19- Dialogue
GH: [reading from the Beatles Monthly Book] “Baseball winners, George’s U.S. visit, Mal Evans gives you a complete report!” Actually… [chuckles]
PM: [laughing] Terrific. It’s like the Daily Express.
GH: Oh, look! [mumbling] “-on Elvis’ current single, ‘A Little Less Conversation’”
PM: [chuckles] It’s Mal’s… general style. Hey, Mal! Who took the photos? [unintelligible] You’ll see.
GH: Yeah, no, this…
Mal Evans: It’s that old one.
GH: Not really, not really.
PM: It’s not, this is the most recent. It’s [unintelligible]
GH: Is it [unintelligible]? Maybe Tony thingy, um… Tony Bramwell. John Kelly and Tony Bramwell. “What do you think of George’s pseudo-tie sweatshirt?” I think it’s terrible.
[laughter]
PM: [vocalizing]
ME: Do you want tea, or anything?
GH: Uh. I’ll have a cup of tea, yeah. Thanks, Mal. “The True Story Of The Beatles. If you have not been able to obtain it, you can still get it direct” … “Accompanied by his current steady, American photographer Linda Eastman, Paul spent the December week in Portugal visiting the Beatles biographer Hunter Davies!”
D1- 20- Please, Mrs. Henry 3.19
GH: [singing] And I ain’t got a dime.
RS: But, you got a story.
ME: [about the Beatles Monthly Book] I did that one, that one. All the good ones, I took.
RS: [laughs] It’s back into too many old ones, you know.
ME: They don’t get new ones, y’see. That’s why the, uh…
[instrumental]
GH: [singing] Please, Mrs. Henry. Mrs. Henry, please! Mrs. Henry, Mrs. Henry please! I’m down on my knees. And I ain’t got a dime.
RS: Been listening to some blues?
GH: Did you play those? Those tapes of Dylan’s?
RS: Oh, yeah. No, only the one, I played.
GH: They’re really…
[laughter]
GH: Like, the words are too much.
ME: I think I got it.
GH: Yeah. I think you should, uh, do something about his posture, Mal.
[laughter]
GH: Y’know, he’ll get a round back.
D1- 21- Ramblin’ Woman 3.20
ME: Did you read that bit about [unintelligible]? I didn’t plan to get it out.
GH: Oh, yeah, I just read little bits of it. It only just arrived.
[instrumental]
PM: [vocalizing]
GH: [singing] Ramblin’ woman / Won’t you please come on home / Ramblin’ woman / Won’t you please come on home / Follow you anywhere / Into wilderness too / Even down to the ocean liners there / Ramblin’ woman / Won’t you please come on home / Ramblin’ woman / Won’t you please come on home / I’ll follow you anywhere / Into wilderness too / Even down to the ocean liners there / Ramblin’ woman / Won’t you please come on home.
D1- 22- Is It Discovered 3.21
GH: [singing, mumbling] Is it discovered…
PM: [reading from the Beatles Monthly Book] “Barbara Pavey is the new Area Secretary for the counties of Leicestershire and Rutland.”
RS: [chuckles]
PM: “Members in these areas can reach her by writing to Mrs. Barbara Pavey.”
[laughter]
PM: 71 Pensioner Street!
GH: I can see that when I’m ninety! The official Beatles fanclub.
PM: But that’s– I like that about it.
GH: The steadiness.
PM: Yeah. It’s just so sort of daft. Even though we just… If we’re all in prison.
[laughter]
PM: [giggling] It’ll still be coming out. “Hello! The boys in Pentonville this week! Send a big hi to all the Bertle Persons! Ringo, doing time in the mailbags-”
RS: [laughs]
PM: “-says, ‘It’s fab in here!’”
RS: [laughing] “Thanks for the cards.”
GH: “Thanks for the guitar.”
D1- 23- Improvisation 3.22
GH: No matter how cheap of a [unintelligible] you say it is.
[instrumental]
GH: It’s like that one of James Ray. It’s as if it’s taken specially there, so to hide…
RS: To hide the humph[?].
[laughter]
PM: And it’s really well-lit. To disguise my, sort of, features. Really try to sort of… Tooth, great…
GH: I think your beard suits you, man.
RS: [in agreement] Mm.
PM: [chuckles] Well, y’know, I’m…
RS: Cap’n.
[laughter]
PM: Yeah. But you know me about it, y’know, I’m just sort of… I don’t know about it, y’know. As always. With anything, I never-
RS: It’s great for the film.
GH: Just keep it on ‘til you do know about it.
PM: Exactly, yeah.
[unintelligible]
GH: But it’s all that, it’s like, to go away is such a [unintelligible]. And, uh… Just, like, all The Band, y’know, it’s too much because they’re, y’know– they’ve got all that gear, but, y’know, that’s– it’s like just the whole thing there is we’re just living, and just, they happen to be a band as well.
PM: Mm.
GH: And, uh. Too much. The drummer is fantastic, ‘cause he plays guitar, really, he’s not really the drummer, y’know, they all just… But he’s the main drummer. Levon Helm, he’s called. And he’s really like that “coats come up from Somerset” y’know, those people. He’s, like, got no neck and all these whiskers, and a happy smiling face. And he’s just playing- [demonstrates on guitar]. It’s all their scene, is just singing all those songs. You’d go down a bomb with ‘em.
PM: [laughing] ‘Cause you’re no-neck.
GH: Y’know, ‘cause it’s all that really country western and their favorite track was Ringo’s track. Because, y’know, all around there, because it’s like… [playing and vocalizing Don’t Pass Me By]. That’s their scene completely.
PM: Yeah, great. [to RS] Are you going to write another?
RS: [exhales]
PM: Yeah, okay. I understand.
RS: Yes, I am, but y’know, it’s just…
PM: I realize it’s a daft question.
RS: I really do get-
PM: “Are you gonna write us another?”
GH: I was gonna write for him someday.
RS: Yes, I know, ‘cause I really do get fed up with…
D1- 24- Picasso 3.23
PM: Not knowing the chords?
RS: [beings playing piano] How do you do it?
GH: Oh, what’s that one? He’s got a great one!
PM: “Picasso”?
GH: Yeah.
RS: Yeah, but I can’t fit it in when I play it, that’s the only drag with that.
PM: Let’s hear it, ‘cause actually, it’s a fast one too, isn’t it?
RS: [laughing] It’s too fast for me. It’s just that speed. [singing] I bought a Picasso the other day / Looked at it upside- [speaking] I can’t sing it.
PM: We’ll just sing it down the octave.
RS: [singing] I bought a Picasso the other day / [chuckling] Looked at it upside, and the other way / I couldn’t find a lady nowhere / To me it looked like a wooden chair. [speaking] See, and then I need to do something…
PM: [singing] Oh baby.
RS: [singing] Oh baby.
GH: Or do it, “to me it looked like a wooden chair” then what’s the next bit? [singing, mumbling]
RS: Make it longer.
GH: So make it twice as long, then do the “oh baby”. Oh, thanks Mal.
PM: [singing] Ohh baby!
RS: Upside-down, then the other way… I couldn’t find a lady nowhere, to me it looked like a wooden chair.
GH: Y’know, uh. Dylan, Paul-
RS: There was paint everywhere.
GH: Y’know-
RS: Oh baby.
PM: Should do it though, yeah.
D1- 25- Taking A Trip To Carolina 3.24
GH: We’re doing, um.
RS: I’ve got “Taking A Trip To Carolina.” [laughs] In the same.
PM: In his mind.
RS: [singing] I gotta get to- Taking a trip on an ocean liner / I gotta get to Carolina / Taking a trip on an ocean liner / I gotta get to Carolina! [vocalizes] Oh baby.
[laughter]
RS: [singing] I’ve been… [speaking] It’s on the- I’ve got it on the little tape, “I’ve been to LA and New York too.” They’re not very nice. The words, I mean, they’re not very good.
PM: Uh-huh.
RS: “Carolina. Oh baby.”
[laughter]
PM: Just get me back there.
GH: With, um…
PM: What was his name? Peter… Golland.
GH: Holland. Peter… Yolland.
PM & RS: [in agreement] Yolland. [chuckling]
[sipping noises]
D1- 26- Hey Jude 3.25
PM: Have you heard- [singing] Hey Jude… [speaking] By Wilson Pickett?
GH: No, I’ve been trying to get a copy.
RS: I heard it. On Saturday, when we were out.
GH: And Arthur Conley! Ob-La-Di Ob-La-Da is supposed to be, that’s gonna knock ‘em all out. That’s too much. So I hear.
PM: I’m glad that that last- y’know, the real people are doing it.
RS: [chuckling] They’re doing it, yeah.
GH: But they did the last ones, didn’t they? Fats [Domino] was good doing that. But he was like, there was a white influence that made him do it.
PM: Yes, right, yeah.
GH: But it was still alright. But what else? There was something else done by, y’know, a heavy one. Solomon Burke, or one of them.
PM: Mm.
GH: Are these really making a film now?
RS: [affirmative] Mm.
PM: See, what he was saying yesterday, it’s good, that.
GH: I keep thinking we’re practicing.
PM: No. [chuckles] But it’s good, because he was saying, it’s like Picasso paints. Where you start from nothing. ‘Cause, y’know, we started from nothing. And it’ll end up as a TV show. But they’ll have all this, sort of… [impression of himself, mumbling] “To G, to D…” [normally] Should be good.
GH: I’ve been thinking of all the tunes I’ve got, and they’re all slowish. I seem to be-
PM: Yeah, most of mine are.
GH: I’ve got that Taxman Part Two.
PM: Oh yeah.
GH: Taxman Revisited.
PM: Five-year slog.
GH: Slog. But that could be very nice. But it should be like, very sad time, y'know, with maybe a string or two.
PM: Mm. We might- yeah.
GH: See, so far, there’s only a couple that I know I could do live with no backing. And that was one of them, that one. [singing] When you’re smiling…
PM: Oh yeah. Just with no backing? Just with a guitar and singing? Can you do that?
GH: Well, y’know, that’s how I’ve been doing it, and that’s, y’know, how it sounded all the time, but…
PM: Yeah.
GH: I mean, it’d probably be nicer to do it…
PM: If you can do that, it’d be great.
RS: It’d be great.
D1- 27- All Things Must Pass 3.26
PM: ‘Cause it’s always that, if you can do it, then that’s it. Much better.
GH: No, it’d be nicer with… some backing. It’d be nice with bass and drums. [singing] Sunrise doesn’t last all morning / A cloud- [speaking] Fuckin’ hell. [clears throat] [singing] Sunrise doesn’t last all morning / A cloudburst doesn’t last all day / Seems my love is up and has left you with no warning / It’s not always been that grey / All things must pass / All things must pass away.
PM: Is that tape recording?
GH: Yeah.
PM: [unintelligible]
GH: The ceiling. [coughs]
RS: Comin’ out the speakers.
GH: [coughing loudly]
D1- 28- Don’t Let Me Down 3.27
[instrumental, unintelligible chatter]
D1- 29- Your Name Is Ted 3.28
[instrumental]
GH: [singing] Your name is Ted. Oh yeah.
D1- 30- Crackin’ Up 3.29
[instrumental]
GH: [singing] You’re always talkin’ ‘bout money I spent.
PM: [singing] You’re always hollerin’ ‘bout where I’ve been.
GH: The echo. The echo is bouncing.
John Lennon: [testing the echo] AHP!
D1- 31- Improvisation 3.30
[instrumental]
PM: Gets my face? Spreading out a bit today. [chuckles]
JL: What?
PM: We’re spreading out a bit today.
JL: Yeah.
PM: [singing] You’re always worried ‘bout the money spent.
D1- 32- Crackin’ Up 3.31
GH & PM: [singing] You’re always worried ‘bout the money spent / You’re always worried ‘bout the money I spend / Crackin’ up / Yeah, yeah! / Just crackin’ up!
PM: [impression of Elvis] [gibberish]
D1- 33- All Shook Up 3.32
GH: [singing] Well, bless my soul, what’s wrong with me / I’m sippin’ like a man on a cup of tea / Friends say I’m acting wild as a bug / I’m in love.
PM: I’m all shook up.
PM & GH: [vocalizing] I’m a little mixed up but I feel fine / There’s only one cure for this body of mine / That’s to have that girl that I love so fine! / When she touched my hand, what a chill I got / Her lips are like a volcano that’s hot / I’m proud to say that she’s my buttercup.
PM: I’m in love / I’m all shook up.
GH: Yeah, yeah, yeah!
PM: Well, my knees are [mumbling] / There’s only one cure for this body of mine / That’s the girl that I love so fine!
D1- 34- Your True Love 3.33
PM: [singing] True love, baby / That’s what you give to me.
GH: Well, God made the world and He-
PM: Made it round!
GH: I got my baby / And I’m glad I found / … / True love.
JL & PM: Your love!
GH: True love!
JL & PM: Your love!
GH: True love, baby / That’s what you give to me.
[instrumental]
GH: True love!
PM & GH: Your love!
GH: True love!
PM & GH: Your love!
GH: True love, baby.
PM: That’s what you gave to me! / [mumbles] I’ll have someone to have and hold! / …Never forget! / True love!
PM & GH: Your love! / Your love!
PM: Oh, baby / That’s what you gave to me.
PM & GH: Oh, true love, baby / That’s what you gave to me.
D1- 35- Blue Suede Shoes 3.34
JL: [singing] Well, it’s one for the money!
PM: [giggles]
JL: Two for the show / Three to get ready / Now go, cat, go! / But don’t you step on my blue suede shoes / Well, you can do anything, but stay off of my blue suede shoes.
JL & PM: Well, you can knock me down / Step in my face / Slander my name all over the place / Do anything that you wanna do / Uh-uh honey, lay off them shoes! / Don’t you step on my blue suede shoes / Well, you can do anything, but lay off of my blue suede shoes.
[instrumental]
JL & PM: Blue, blue, blue suede shoes / Blue, blue, blue suede shoes / Well, you can do anything, but lay off of my blue suede shoes.
D1- 36- Three Cool Cats 3.35
PM: [singing] Three cool cats / Three cool cats…
GH: Parked on a corner in a beat-up car / Talkin’ all about how sharp they are / [mumbles]
JL, PM, & GH: [in harmony] Three cool cats / Three cool chicks
GH: Are walkin’ down the street / Swingin’ their hips / Splitting up a bag of potato chips / Three cool cats did-
PM & GH: Three cool flips! / For the-
JL, PM & GH: Three cool chicks / Three cool chicks / Up popped that first cool cat / He said “now look at that, man do you see what I see?”
GH: I want that middle chick!
PM: I want that little chick!
JL: Hey man, save one chick for me!
JL, PM & GH: Three cool chicks / Three cool chicks / [vocalizing] / Three fools of these three cool cats / Three cool cats / Three cool cats / Three cool cats!
PM: [giggles]
JL: [silly voice] Request here from Maisie, Linda, and Josie! The bulldog gang, the clap-stoppers, and the cement mixers guild!
PM: [laughing]
JL: We’d like you to sing “Walk Don’t Run”!
[laughter]
PM: [singing] Three cool cats…
GH: [unintelligible]
D1- 37- Blowin’ In The Wind 3.36
GH: [singing] How many roads must a man walk down?
JL: Before you call him a man?
PM: The answer, my friend, is blowin’ in the wind / The answer is blowing in the wind! / Well, how many [laughing] must a white dove sail? Before-
D1- 38- Lucille 3.37
PM: [singing] -baby / Please don’t do me no harm / Ow! [chuckles] Eep! Ow! Woo!
[instrumental]
PM: I woke up this morning / Lucille was not in sight / I asked my friends about her but all their lips were tight / Lucille / Please come back where you belong / I’m waiting for you, baby / Please don’t do me no harm / Ow! [vocalizing] / [falsetto] Lucille / Please come back where you belong / Lucille / Please come back where you belong / Well, I woke up this morning / Lucille was not in sight / Asked my friends about it / All their lips were tight / Lucille! / Come back where you belong! [vocalizing]
[instrumental]
D1- 39- I’m So Tired 3.38
PM: [singing] I’m so tired / I haven’t slept a wink / I’m so tired / My mind is on the blink / I wonder should I call you / And get myself a drink / No-no-no [speaking] No! Lay off the booze, boy! [singing] ‘Cause I’m so tired / I don’t know what to do, don’t know what to do / I’m so tired / My mind is set on you [chuckles] / I wonder should I get up- call you / But I know what you will do! / Oh no no / You’d say I’m putting you on / But it’s no joke / Doing me harm! / You know I can’t sleep / [mumbling] Three weeks…
JL & PM: I’m going insane!
PM: You know I’d give you anything I’ve got for a little peace of… / I’m so tired / I don’t know what to do / So tired / My mind is on the blink / I wonder should I get up / And fix myself a drink / No-no-no [speaking, laughing] Lay off the booze… [singing] Yeah, doin’ me harm / You know no joke / Doin’ me harm / You know I can’t sleep / …Going insane! / You know I’d give you anything I’ve got for a little peace of mind / I’d give you everything I’ve got for a little peace of mind / I’d give you everything I’ve got for a little peace of mind.
[instrumental]
PM: [gibberish] [laughing] Fellas on the ballrooms, imagine. [gibberish]
JL: [coughs, laughs]
PM: ‘Cause you see ‘em on telly-
D1- 40- Ob-la-di, Ob-la-da 3.39
PM: [singing] Ob-la-di! Ha-ha-ha-ha!
JL: Ring!
PM: Ring!
JL & PM: [silly voices] Desmond has a barrow in the marketplace! / Doris had another in the bog!
JL: Charlie had another and it went to town! / And lordy, lordy, did they have a bag of fun! / Oh my god! / Oh my god! / Oh my god!
JL & PM: [vocalizing, giggling] Desmond and Molly Jones!
JL: Jones! / Desmond had a sparrow in his pocketbook! / Molly had an eagle in the strand / Molly said to Desy “Boy I like your hook / And when it hit me I believe you’re in the band!”
JL & PM: [vocalizing]
GH: La-la life goes on / La-la-la life goes on / La-la-la
GH & PM: Life goes on!
JL: [shouting] Well if you want some jam!
[laughter]
GH: Jam! Fuckin’ heard him? You want some jam?
PM: Ba-lim-ba-lum-ba-lam. [clicks tongue]
GH: Jimmy Scott missed out on that, too.
PM: [laughs] Promised him some publicity. Well, you got it, Jim. Alimony case.
D1- 41- Get On The Phone 3.40
[phone ringing in background]
JL: [singing] Get on the phone…
PM: I called you up [laughs] / You’re not there / Feelin’ rough.
GH: [speaking] Mal? Gone off?
PM: [singing] Oh yeah!
GH: I’m the great pretender.
JL: We’ve all gone off. It’s a major disaster.
Yoko Ono: [giggles]
GH: Maybe I dimmed it? Could I have stood on the cord?
PM: [vocalizing]
GH: You just take that adapter out, plug that one into the other plug.
JL: Have you heard John Lennon’s imitation of Harold Wilson?
PM: [laughs]
JL: [unintelligible] -an alley cat. Have you heard?
[instrumental, background chatter]
JL: Uh, what? Ray Coleman?
D1- 45- Improvisation 3.44
JL: Yes, I thought so. He knows I’m doing silent pieces these days.
GH: Mal?
JL: Okay. Oh, thanks. I’m the only one that needs the words.
GH: Uh, phone Joe.
PM: Can I have some words as well?
JL: We haven’t got any mics, have we?
GH: Mal? The words- my words are in this guitar again-
[slate]
D1- 46- My Words Are My Heart 3.45
JL: [singing, silly voice] My words are in my heart, and my heart is in my pocket, and my pocket’s in my suit, and my suit is in the wardrobe
PM: In the heart you left-
D1- 47- Negro In Reserve 3.46
PM: -behind you.
JL: [singing] There’s a hole in the heart case / There’s a hole in the heart case / And a hole in the heart case! / There’s a hole in the heart!
PM: And the mother’s got a negro in reserve.
JL & PM: And the mother’s got a negro in reserve.
JL: There’s a hole in the heart case / Standing on the shelf / There’s a diaphragm [unintelligible] / All by his self / And his mother’s got a negro [mumbles] left behind / There’s a hole in the head / And his name is Ted
PM: [mumbling]
D1- 48- Don’t Let Me Down 3.47
JL: Okay. [singing] Don’t let me down!
JL & PM: [in harmony] Don’t let me down / Don’t let me down!
JL: [speaking] I don’t-
JL & PM: [singing] Nobody ever loved me like she do.
JL: Yes she does / Yes she does /
JL & PM: And if somebody ever loved me like she do me / Ooh, she do me / Yes she do / Don’t let me down!
PM: [speaking] PA’s off.
JL & PM: Don’t let me down / Don’t let me down / Don’t let me down / I’m in love for the first time.
JL: Don’t you know it’s gonna last / It’s a love that lasts forever!
JL & PM: It’s a love that has no past! / Don’t let me down / Don’t let me down / Don’t let me down / Don’t let me down / And from the first time that she really done me / Ooh, she done me / Yes, she good / [mumbling] Done me / Ooh, she done me / She done me good / Don’t let me down / Don’t let me down / Don’t let me down / Don’t let me down
JL: [speaking] No, don’t let me down… I’d really like you not to let me down. And when I hold you in your arms! When I feel your pancake[?] next to my trigger.
PM: [singing] Don’t let me down / Don’t let me down!
JL: George? You know that, uh- Is it that fretless guitar that makes that sort of… You used it on one of yours. “Long, Long, Long” and the Box Tops used it.
PM: Oh, yes.
JL: Try doing that, y’know, on all these.
GH: No, “Long, Long, Long” is that Gibson.
JL: Oh, ‘cause, you know that tone?
GH: Yeah, well that tone, it sounds like-
JL: If you could do that kind of thing, you know. [singing] Don’t let me down.
D1- 49- Don’t Let Me Down 3.48
[slate]
JL: [singing] Don’t let me-
D1- 50- Don’t Let Me Down 3.49
JL & PM: [in harmony] Nobody ever loved me like she does / Ooh, she does / Yes she does / And if somebody ever loved me like she do me.
JL: [speaking] That’s it. Set one.
JL & PM: Do me / Yes she do / Don’t let me down / Don’t let me down / Don’t let me down / Don’t let me down / I’m in love for the first time / Don’t you know it’s gonna last / It’s a love that lasts forever / It’s a love that has no past / Don’t let me down / Don’t let me down / Don’t let me down
JL: No, no, no, no…
JL & PM: Don’t let me down! / And from the first time that she really done me / Ooh she done me / She done me good / I guess nobody ever really done me / Ooh she done me / She done me good / Don’t let me down! / Don’t let me down / Don’t let me down / Don’t let me down…
PM: Go through it again, and I’ll try and sing the bits with you. [singing] Nobody ever loved me like she do me.
JL: Yeah, we’ll do “like she does” for the first one.
PM: [singing] She does me…
JL: No, no, just “does.” That’s how it was.
PM: She does.
JL: Ooh, she does. Yes she does.
PM: Ooh she does. Yes she does.
JL: Then “done me.”
PM: Mal, can you just lend your pen for a sec? Just correct a couple of bits.
JL: I wonder how long it is.
PM: Time it?
JL: Do you wanna time it, Mal? ‘Cause it’s probably only about half a minute long.
PM: Ooh, have you seen the word “does”?
ME: Does [pronounced doze].
PM: Does. Is that how you spell it?
ME: Yeah.
JL: Oh, dem golden slippers. Schleppers.
ME: “She does me”?
PM: Yeah. No, no, just “she does.”
D1- 51- Don’t Let Me Down 3.50
PM: Love that lasts forever…
D1- 52- Ob-la-di, Ob-la-da 3.51
JL: [singing] Desmond had a sparrow in his parking lot.
PM: Ta. One-
D1- 53- Don’t Let Me Down 3.52
PM: One, two, three, four, one [clicks tongue]
JL: [singing] Don’t let me down! [speaking] Should be one, two, three.
D1- 54- Don’t Let Me Down 3.53
JL & PM: One, two, three.
JL: [singing] Don’t let me down!
JL & PM: [in harmony] Don’t let me down!
JL: [speaking] Hello?
PM: Hello? PA? Playback’s gone off again. The PA’s gone off again.
ME: [unintelligible]
PM: Oh, okay. Sorry.
JL: Should we do it without it? Or should we wait?
PM: I’ll whisper in the ear for that.
JL: Ah. Hello? It’s on again. It’s okay, it’s on.
PM: Just give us a shout if you’re gonna– Or I dunno, I don’t really know.
D1- 55- Don’t Let Me Down 3.54
JL: One, two three. [singing] Don’t let me down!
JL & PM: [in harmony] Don’t let me down / Don’t let me down / Don’t let me down / Nobody ever loved me like she does / Ooh she does / Yes she does / And if somebody ever loved me like she done me / Ooh she do me / Yes she do / Don’t let me down / Don’t let me down / Don’t let me down / Don’t let me down.
JL: I’m in love for the first time / Don’t you know it’s gonna last / It’s a love that lasts forever!
JL & PM: It’s a love that has no past! / Don’t let me down / Don’t let me down / Don’t let me down / Don’t let me down / And from the first time that she really done me / Ooh she done me / She done me good / I guess nobody ever really done me / Ooh she done me / She done me good / Don’t let me down / Don’t let me down / Don’t let me down / Don’t let me down
D1- 56- Sun King 3.55
PM: Three minutes!
JL: What?
PM: Three minutes.
ME: Three minutes, forty seconds.
JL: That’s fine.
PM: Three minutes forty seconds! Incredible. Long. It sounded just like…
Glyn Johns: What we’ll do is perhaps, if you’d dig to come down to Olympic one evening when we’re finished here, or something. And I’ll play you some of the stuff that we did on the show and show you what we did, and then you can criticize it and say how you want it different, if you like.
Paul McCartney: Mm. Maybe, maybe. I think it’s just as well, just to stay here. Just to stay here and do it, y’know, see what happens.
GJ: Yeah. But I think you’ll find– I was really pleased with the sound. On the Stones thing, it was really good.
Michael Lindsay-Hogg: The mixes I heard are very nice and chunky and solid.
GJ: Very full-sounding. It’s really- it sounds like a good live studio recording. Y’know. It sounds like a group all playing at once. Really good studio.
PM: You never know, see this… this place sounds terrible. Now, it may just be great! Never know.
MLH: The PA stuff’s arriving this afternoon, isn’t it?
GM: About half an hour.
MLH: Great.
PM: Yeah, you can never tell with these places that are supposed to be terrible acoustically.
MLH: I think the thing is to-
PM: We did a track in a little room, like a bog. No separation in there, y’know. And we really got good separation. We did Yer Blues in there.
GJ: Yeah.
PM: And it’s alright, the sound. It’s a very sort of different kinda sound.
MLH: I think the thing to do is just be very flexible still, about every aspect of the enterprise.
PM: I think– Well, I think, you know…
GJ: [laughing]
PM: Michael, I think you’re pretty right! Pretty fair point!
GJ: You’re pretty right, Michael!
MLH: Are you gonna keep the beard?
PM: I dunno.
MLH: You look like a Talmudic student!
PM: Yeah. [giggles]
MLH: You know, you ought to get one of those big-brimmed hats with those ringlets down the ears.
GJ: [laughing]
PM: Yes. Yes, I saw them on telly.
MLH: Then we could do it in Israel.
GJ: No, the thing is, the thing is that an open-air sound is fantastic. I’ve always wanted to do something in the open air.
[tape cuts]
D2- 02- Dialogue And Slates
GJ: -that’s what we were saying, but…
PM: And where’s hot?
[slate]
D2- 03- Dialogue And Slates
GJ: If the ideas that Michael and Denis had-
[slate]
D2- 04- Dialogue And Slates
GJ: -all the weird instruments and snake charmers and, like, holy men, and all that scene. Like, hundreds of people, and they just gather ‘round and they all play, and you give ‘em bread. It’s fantastic.
MLH: I was very taken by the place Denis talked about.
GJ: Yeah. That was-
MLH: This amphitheater. Because the whole thing, I could see it. See outside, torchlit. 2,000 Arabs and friends around. I thought the venue was appropriate.
PM: No, I think we won’t- I think you’ll find we’re not going abroad. Because Ringo just said he doesn’t want to go abroad. And he put his foot down. So… us and Jimmie Nicol might go abroad.
GJ: [laughing]
Tony Richmond: Gets me out of a lot of trouble, too.
PM: What, you didn’t want to go abroad?
TR: I’m getting married on the eleventh.
PM: Oh, well no, you can’t go abroad.
TR: And I’ve gotta get uptight.
PM: A Marrakesh honeymoon. For two. For forty.
[laughter]
MLH: We’d work that out, we’d work that out. I think the thing to do is just see what we all feel in a day or two, as opposed to making anything– second beer, wasn’t it? As opposed to making anything hard and fast. Immediately, ‘cause we may find the idea, or any idea, grows and gets more attractive or less attractive. Given where you are now, in other words, we may find, in two days here-
PM: [laughing]
GJ: He’s not gonna give up! He really won’t give up.
PM: No, it’s alright.
GJ: He won’t give up. He’ll be saying this, like, as you walk onstage, on the night of the show. “Well, I really think, uh…” [laughing]
MLH: I, personally, if anybody asked-
GJ: “Torchlit.”
MLH: If anybody asked me, point blank, where I thought we should, I would say torchlit in the top of Africa, myself. But no one’s asked me that question.
PM: See, look, because Ringo definitely doesn’t want to go abroad. So that means we don’t go abroad, y’know. Maybe we go abroad next time. But this time, no. But it’s just as well, though, but it’d be nice to try and find some way to do it out of doors.
GJ: It’s so bloody cold, isn’t it?
MLH: The only other problem, see, if we could probably get over the cold-
PM: Can’t you, you know like in a car, when you can heat, sort of ground-level, and you can put the hood back, and, y’know, the cold sort of streams over the top as long as you got the heaters up full. You know what I mean? You can get the sort of open…
MLH: It’s not the heat, so much, it’s the weather. I mean it’s the actual weather, it’s snowing and raining.
PM: Oh yeah. The actual snow and rain.
MLH: It’s your English rain. Which is worrying about out of doors in this country. See, out of-
PM: No, to me, it’s the heat. I wouldn’t mind either playing in the rain, that’s quite…
GJ: That would be interesting, yeah.
PM: Snow or rain would do me. Y’know, wind and anything. Make all that, it’s just a frozen hand trying to play those notes.
GJ: Trying to get your E-7th when your little finger’s frozen.
PM: Snow and rain! It’s alright, you might just have a few deaths on the set, due to electric shocks.
MLH: Yeah, that’s what I was… I mean, I wasn’t worried, I just thought if it’s raining it’s just not all that fun if you wanna do it for two or three days. If we did it at the end of the month, in Slough out in the fields. And anyway, the audience, [giggling] we’d have eight pigs and seven farmers. It’s uh…
PM: [humming “I’ve Got A Feeling”]
MLH: I think the thing is to be flexible, he said finally.
PM: [continues humming]
GJ: I’m definitely gonna do an album, a complete album.
MLH: You’re doing a Steve Miller one?
GJ: Yeah, but I’m-
[tape cuts]
D2- 05- Dialogue and Slates
[laughter]
[slate]
D2- 06- Dialogue And Slates
Ringo Starr: It was the 17th?
Denis O’Dell: No. Who?
RS: Neil.
DO: No, 24th now, because of this, y’know, we wanna get this.
RS: [sighs] It just goes on and on, y’know, I may do it next year!
DO: No, we’ve set for the 24th on contract, I had to put it back for this.
[simultaneous conversations]
PM: [to MLH] Really looks in good condition, that.
MLH: I know, it’s [unintelligible] very reliable.
RS: [to DO] Why? This is only gonna take two weeks.
[MLH speaks unintelligibly about Cuban cigars]
DO: Well, we don’t know yet, do we? I mean, it wasn’t sure when I had to do it, ‘cause I had to set it by Christmas Eve. Rather than screw around on the 17th and that, I said “alright, let’s make it the 24th” and that’s the date everybody does know, we’re gonna start shooting on the 24th.
DO: Whatever happens, it’s starting on the 24th. You’re contracted.
RS: Alright. See if I can make it.
DO: [laughing] Yeah, be there, Ring, will you do me a favor? They’re super scripts. Joe’s just finishing it off, and then we’ll get your copy over, and you’ll just browse through.
RS: Yes, I didn’t read that one.
DO: No, it’s okay, just browse through it.
RS: Y’know, ‘cause it’s the third one I’ve had now.
DO: Yeah… It’s got better all the time.
RS: Well, I’ll wait ‘til the final one, then. ‘Cause you get to know one, and then it’s all different.
DO: You see, what ideally I’d like to do, Ringo, is use this one we’re doing now as almost a final filming version for all of us, who know all the... Then get Terry over, [unintelligible] and any time you get an idea or say “well, wouldn’t it be great” then he can really, really help you, y’know? So that’ll be nice. It’s very funny. There’s a very funny sequence in a pub, it’s a thing that you do. And it’s a new knock in the pub, like all the drinks are on the house– [continues describing scene unintelligibly]
PM: [to MLH] I’ll tell you what I want. Liquor. If you just decide to sort of get in stuff. ‘Cause I, y’know, I don’t… if I drink, it’s scotch. There’s always people who, y’know… “I’ll have a vodka” and all that stuff. So you decide to get in some liquor, y’know. And, Christ! It’s really, it’s hundreds of quid just to get a–
[tape cuts]
D2- 07- Dialogue and Slates
DO: [unintelligible]
PM: I ordered so much wine-
DO: Yeah, I’d appreciate if you could get it done today for me. Thanks, Jack!
PM: -and then not that many bottles of liquor, and this costs more than that.
DO: Yeah, but we still are building the picture, you know.
PM: [unintelligible]
RS: You’re building it here? Which sets do you use?
DO: I’m using the other two stages, plus I left this free for…
RS: And where- you’re building the boat in this one?
DO: Uh, the boat is… Yeah, the boat is gonna be on this one. It’ll be the last scene in the picture, though. But it’s fantastic. I’ll take you up the art department, when you get a moment.
RS: Yeah, okay.
DO: And you can see some of the designs, and all that, ‘cause it’s well under way.
RS: Is it still the same boat they had?
DO: The environmental- yeah. Yeah, the dining room under water, where we release-
RS: The mice.
DO: -like, octopus, and all that. Things that you watch under the water.
RS: Yeah, well that was like the first script.
DO: That’s like the first script, yeah.
RS: That’s nice. [into mic] Well, we’ll say cheerio, now.
DO: I’ll take you up, Ringo, y’know, during the week sometime.
[guitar feedback]
JL: Hey, Mal! [vocalizing?]
D2- 08- I’ve Got A Feeling 2.41
PM: [singing] All these years I’ve been wandering around / Wondering how come nobody told me / All that I been looking for was somebody who looked like you!
JL: But we just do that one? Is that it? I’ve forgotten what you’re doing, but I just can’t get it. Wanna face this ‘round a bit?
PM: Watch out.
JL: Ah.
PM: [unintelligible]
[instrumental]
PM: [singing] I’ve got a feeling / A feeling deep inside, oh yeah / I’ve got a feeling / A feeling- [giggling]
D2- 09- Tuning
[instrumental]
D2- 10- Slate
[slate]
D2- 11- I’ve Got A Feeling 2.42
RS: You’re doing it three times before-
GH: Yeah ‘cause we were coming in on the second one, and then it was going into that.
RS: The third one with drums, and then into the break. Before.
GH: Yeah.
PM: Uh.
[instrumental and vocalizing]
PM: [singing] I’ve got a feeling / A feeling deep inside, oh yeah…
D2- 12- I’ve Got A Feeling x.xx
PM: On the break, just try three straight chords. [vocalizing]. And like, uh, maybe D-7th or something.
[instrumental]
D2- 13- I’ve Got A Feeling 2.43
[slate]
PM: [singing] I’ve got a feeling!
D2- 14- I’ve Got A Feeling 2.44
PM: [vocalizing]
JL: [singing] Everybody had a hard year.
PM: A link!
JL: [singing] Everybody had a good time / Everybody had a soft dream / Everybody saw the sunshine / Oh yeah / Oh yeah, oh yeah / Everybody had a hard year / Everybody let their hair down / Everybody pulled their socks up / Everybody put their foot down.
PM: Tom-toms.
GH: I forgot it was at the end.
JL: Yeah.
PM: After he says- you’ll be able to hear it, when we’ve got…
GH: I think we should-
JL: [singing] Everybody put your foot down.
GH: -get Mal to write the words, so we can see verse, chorus, verse.
JL: [singing] Oh yeah / Everybody put their foot down.
PM: Malcolm!
JL: [singing] Everybody put their foot down. [speaking] Uh. Right after foot down. [singing] Everybody put their foot down-
PM: Woo! [vocalizing] Then, like last time.
D2- 15- I’ve Got A Feeling 2.45
PM: Only, like, a… Like, as an off-beat, but a few notes, like sort of [vocalizing] Yeah. But around the off-beat, sort of [vocalizing].
[instrumental]
GH: What about this bit? Or this bit?
PM: Oh yeah, that’s when he says-
GH: Where’s all that [unintelligible] come in?
PM: Yeah. So when he, uh…
JL: Starts with “foot down” at the end. The first time.
PM: [singing] Everybody had a hard year.
JL: [singing] Everybody had a good time / Everybody pulled their socks up.
JL & PM: [in harmony] Everybody put their foot down / Oh yeah.
PM: Four! One… two… yeah, yeah…
[instrumental]
PM: Break!
RS: Oh, the break?
PM: Yeah. So, like, the fourth time it does it. [vocalizing] I got a feeling…
JL: [singing] Everybody had a good time…
D2- 16- I’ve Got A Feeling 2.46
PM: Yes.
GH: -where I know exactly where everybody else is going.
PM: Yes, right.
GH: So, uh.
PM: Yes.
GH: The thing is, maybe, I think it may be better to, like, learn as much as, like we’ve learned of this one, of…
PM: Of all of them. Yeah, I was saying that before, just get the chords and stuff.
GH: And we’d bring ‘em all up like that together, rather than just know one perfect, and then…
PM: Yeah.
GH: Have to go back down there.
JL: Okay. Well, we’ll just do it a couple more times, see which way we go, and then we’ll learn something.
PM: Okay, so…
JL: ‘Cause it’s that bit where I think I’m playing the guitar, I’ll know it, but I need the chorus to sing it. Deciding which one to be, y’know.
PM: Okay, yeah, so…
JL: So, that’s where it’s at for all of us, I think.
PM: Yes, true. So it starts off [singing] I’ve got a feeling. [speaking] Then the first time- [vocalizing] Wha? Then… okay, do it from the beginning.
JL: Two, three, four…
PM: [singing] I’ve got a feeling / A feeling deep inside / Oh yeah.
JL & GH: Oh yeah!
PM: Sing it to me, children. [singing] I got a feeling / A feeling I can’t hide / Oh no.
JL & GH: Oh no!
PM: Oh, no, no, no / Oh! / I’ve got a feeling! [vocalizing]
JL & PM: [in harmony] Oh, please believe me / I’d hate to miss the train / Oh yeah / Oh yeah! / And if you leave me / I won’t be late again / Oh no / Oh no!
PM: Oh no / Oh! Yeah! / I’ve got a feeling! [speaking] Middle eight! [singing] All these years I’ve been wandering around / Wondering how come nobody told me / All that I been looking for was somebody who looked like you! Woo! / I’ve got a feeling that keeps me on my toes, oh yeah.
JL: I won’t sing this one, you’ll probably [unintelligible].
PM: [singing] Oh yeah! / I’ve got a feeling / That everybody knows / Oh yeah! / Oh yeah / Oh yeah / Got a feeling!
JL: Everybody had a hard year / Everybody had a good time / Everybody had a soft dream / Everybody had the sunshine / Oh yeah, oh yeah, oh yeah / Everybody had a hard year / Everybody let their hair down / Everybody had their socks up / Everybody put their foot down.
PM: Wooo!
JL & PM: [overlapping singing, I’ve Got A Feeling/”Everybody”]
[instrumental]
GH: It seemed to go fast, just the last…
PM: [giggles]
JL: Oh, we… we get excited.
Mal Evans: You swap those two ‘round. You do swap those two ones ‘round.
PM: Oh, yes.
GH: I think the best bit is the bit where he’s singing “I've got a feeling” and you’re singing the other bit.
JL: Yeah, that’s the last-
PM: That’s the last, uh. Yeah. “Baby, It’s Cold Outside.”
GH: Feature that bit, a bit more. The two.
PM: Earlier?
JL: I dunno. ‘Cause it’s like a surprise, y’know. After all that.
GH: Yeah.
JL: ‘Cause the other won’t be so good by the time-
PM: See, the thing is, yeah, that bit. I think, would be great.
JL: When he’s singing it, going, we’re all playing it, [unintelligible].
D2- 17- I’ve Got A Feeling 2.47
JL: That first bit would be-
PM: [vocalizing] See, but if you can play [vocalizing] Like Mick Jagger.
D2- 18- I’ve Got A Feeling 2.48
JL & PM: [overlapping singing, I’ve Got A Feeling/”Everybody”]
[instrumental]
PM: Yeah. [vocalizing]
JL: [singing] Everybody had a hard time / Everybody had a…
[instrumental, unintelligible chatter]
PM: Is that for me?
ME: You and John.
PM: Uh-huh. Uh, it’s a bit clumsy, though. B’s are on four[?]. It sort of, y’know, takes up so much room, that. [unintelligible]
ME: [unintelligible]
PM: Be nice for night work.
ME: [laughs]
[instrumental]
JL: Play with that for a bit.
[instrumental]
PM: Should we go off this one, then? Y’know, if that was pretty good, that one.
JL: Okay. We should add one more! [laughs]
PM: Yeah, okay.
JL: Unless there’s nothing we’re doing.
PM: Let’s do another song, now. Learn some new chords, or something, like you say. ‘Cause, y’know, we’ll do it. See, we could just write the words down like the chords. On this.
GH: [unintelligible] -to bring little tapes. Just to tape our, y’know… so we can run through.
JL: Just a cassette.
PM: He could probably do us a copy of those. They’re taking most of this.
D2- 19- Sun King - Don’t Let Me Down 2.49
GH: Just from my mic?
PM: It’s alright, I heard it before. You can hear.
GH: Uh. So what should we do next?
[instrumental]
PM: He’s a sound man.
JL: Don’t Let Me Down.
PM: Can you get the piano with the top taken off?
JL: [singing] Don’t let me down / Don’t let me down.
JL & GH: [in harmony] Don’t let me down.
JL: If I’m in love for the first time / Please don’t let me down / Don’t let me down!
GH: [speaking, unintelligible]
JL: Yes.
GH: [unintelligible]
JL: This is the first time I knew it was that high, I thought it was low before.
PM: I think it is when you’re trying to sing over and out.
JL: I think at home, I was- [singing, lower] Don’t let me down…
PM: Probably was. [singing] Don’t let me down…
JL: Yeah. ‘Cause the rest of it.
PM: Do both. So you can [singing, higher] Don’t let me down!
JL: Yes. So, uh. So I’ll sing it. So we’ve gone through a bit, there, haven’t we?
D2- 20- Don’t Let Me Down 2.50
JL: [singing] I’m in love for the first time / Please don’t let me down / Don’t let me down!
JL & GH: [in harmony] Don’t let me down / Don’t let me down / Don’t let me down.
JL: Nobody ever- [speaking] Oh, that was that stop, you were saying. [singing] Don’t let me down! / Nobody ever loved me like she do / Yes, she do me / Ooh, she do / And if she ever loved me half as much as she do me / Yes, she do me / Yes, she do.
JL & GH: Don’t let me down / Don’t let me down / Don’t let me down / Don’t let me down.
JL: ‘Cause I’m in love for the first time / Don’t you know it’s gonna last / It’s a love that lasts forever / It’s a love that has no past.
JL & GH: Don’t let me down / Don’t let me down / Don’t let me down / Don’t let me down.
[instrumental]
GH: What’s this bit?
JL: Oh, well I- See, I have no order for it at all, y’know. For all the bits. I just gotta see which should come where, y’know. [sighs]
[instrumental]
D2- 21- Don’t Let Me Down 2.51
PM: [singing, low] Don’t let me down…
JL: Yes.
PM: Like an old kind of number.
JL: Yes.
PM: So…
[instrumental]
JL, GH, & PM: [in harmony] Don’t let me down / Don’t let me down / Don’t let me down / Don’t let me down.
PM: So, how did they have those, y’know? I mean, how do we have those? It’s, uh…
JL: I dunno, he was just singing like a natural this morning.
GH: Oh yeah, well. I just…
PM: So would it- would it have piano on it?
JL: Yeah, but how do we do that?
PM: Uh, one of us play bass. George play bass.
JL: Then there’s no guitars!
PM: Well, I mean, y’know, for a- well- it’s either you or him. Or a bass player, or a pianist. Y’know.
JL: I think if we have somebody do it…
GH: Maybe you could play an organ, ‘cause at least you could do the bass with the pedals.
JL: ‘Cause then it just leaves one guitar, doesn’t it?
PM: Yeah, I know. But I mean, the point is, are we gonna do it… can we do it? Y’know.
GH & RS: [laughing]
JL: What?
GH: Just that one heavy guitar.
JL: No, I mean, try it!
[instrumental]
PM: Yeah, okay.
D2- 22- Sun King - Don’t Let Me Down 2.52
JL: Are you gonna get on piano, then?
PM: Uh. No, we’ll leave it like this. [laughs]
GH: Maybe we can just come over there and…
JL: See, I’ve got a-
PM: Gotta have full applause to get me on piano. Full majority votes. No recount. [laughing]
JL: I think the idea of a piano-
PM: I’m still on bass.
JL: -is just to make it, y’know, it does do that. Limits you, sort of.
PM: Yeah. See, um.
JL: So I think we should just sort of learn ‘em. And then see what’s needed.
PM: I think, there’s a thing of- [stammering]
JL: Decide what we are.
PM: Yeah.
JL: Well, it’s just that I’ve had… just kept hearing him doing all them.
PM: Yeah, okay. I thought of it more as an old one. That really, like, with that thing of the old ones. Which was never fiddling. But alright. So, uh, you have…
JL: Have a bit of both, y’know.
PM: Yeah. Alright. But somehow, to get that thing of [singing] Don’t let me down. [vocalizing] [speaking] What do you want us on, then?
JL: Just on your things. Y’know, and then- ‘Cause I don’t even know what order I’m doing it in yet, so if I’m repeating any of it. It’s the first time I’ve sung it.
PM: Let’s set that now.
JL: Well, I just wanna sing it and then see which bit.
PM: Oh, come on. We’re at rehearsals now.
JL: Yes.
PM: So set something! I just want it ‘cause we really gotta go with yours. [unintelligible] So you can set it.
JL: Well, I’ll do it how I was doing it. The same, ‘til I can think of something, if I want to repeat any. ‘Cause I’ve not sung it enough like this.
D2- 23- Don’t Let Me Down 2.53
PM: I know, but you know where it’s at.
JL: Yes, I’ll do two [singing] Nobody ever loved me.
PM: [unintelligible]
JL: Okay, well the problem is, it’s murder to repeat anything [unintelligible]. Because they only repeat so much.
PM: The bit I like-
JL: Maybe they’ll like the chorus, and that’s the verse.
PM: The bits I like are [singing] Nobody loved me like she do-
JL: Yeah, well that’s- let’s repeat that, or repeat the “I’m in love for the first time”
PM: Repeat them, but write new words for them.
JL: Yeah.
PM: And, uh… and the other bit. [singing] It’s a love that lasts forever! [speaking] That’s great, that bit.
JL: But that’s where- where it’s both of them, or all of them, then it’s gonna go on and on.
PM: Yeah, maybe. But like, first time, it’s [singing] We’re together / It’s a love that last forever! [speaking] Second time, it’s [singing] Well, you know, that it’s never… / A love that lasts forever!
GH: I don’t mind, really, any way.
JL: Okay, I’ll try.
PM: No, I don’t- I think I’ll lay off that. I’ll get on it for numbers I definitely think- I just sort of heard this as one of those. [singing] No one love me like you do [vocalizing] It’s a love that lasts forever! [speaking] But we can do that with all this.
JL: See, and if we have any people in, it’ll probably be like, a guy that plays piano or something.
PM: Yeah, he’s an American.
JL: No, that one [unintelligible] or anybody.
PM: Nicky Hopkins.
JL: Yeah.
GH: Nicky Hopkins?
PM: He’s an American.
JL: And then we play, and see how good we can get it without.
GH: Or you could get, if you wanted a bass, get a big double bass player.
PM: Yeah.
GH: Y’know, to have that.
PM: See, it’s just, I always think that looks funny.
JL: It’s just like having trumpeters.
PM: Yeah, right. But, y’know. You know what I mean about that. It does look- it’s like [unintelligible]
JL: Yeah. Well, it’s like playing, and then if we need somebody, if we still think “oh, that’d be nice, just a bit of piano.” Or if it develops that nothing need be done on guitar except for rhythm. Then we’ll say, “well, fuck that, two rhythms, one piano.”
PM: Okay, we’ll play it. The rhythms and the guitars, anyway.
JL: Oh, yes.
PM: So just play it through, how we’ve been getting it so far.
JL: Okay. [singing] Don’t let me down!
JL & GH: [in harmony] Don’t let me down / Don’t let me down / Don’t let me down.
JL: [singing] I’m in love for the first time / Please don’t let me down / Don’t let me down!
JL & GH: [in harmony] Don’t let me down / Don’t let me down / Don’t let me down.
JL: [singing] Nobody ever loved me like she do me / Yes, she do me / Ooh, she do / If somebody loved me half as much as she do me / Yes, she do me / Yes, she do / Don’t let- [speaking] Oh, is it another one of those “nobody evers”? Four of them.
PM: No, no. I think it does the [singing] It’s a love that lasts forever.
JL: No, no. Comes after the next [singing] Don’t let me down / Don’t let me down / ‘Cause I’m in love for the first time / Don’t you know it’s gonna last / It’s a love that lasts forever / It’s a love that has no past / Don’t let me…
PM: That’s all the bits you’ve got?
JL: [singing] Don’t let me…
PM: If you had [singing] Don’t let me down. [speaking] Say it twice at the beginning. But, you know where you bring that “‘cause I’m in love for the first time”? I don’t dig that. It sounds like a middle eight.
JL: Oh, yeah. Okay.
PM: It doesn’t sort of… But scrap that, except use that somewhere near the end.
JL: That one used to go after the [singing] It’s a love that has no past / ‘Cause I’m in love for the first time. [speaking] After that.
PM: Yeah. It should come somewhere there.
JL: Well, we if do it to the end, it’s like an ending. [singing] Please don’t let me down.
PM: It sounded to me like you should have [singing] Don’t let me down / Don’t let me down
JL & PM: [in harmony] Don’t let me down / Don’t let me down.
PM: And stop! [singing] No one loved me like [mumbles] [speaking] Yeah, ‘cause that’s where-
JL: Right. Nobody ever loved me like she do me.
GH: No harm just having a break in that bit.
PM: Yeah, except skip that little…
JL: Yes.
PM: …interlude.
JL: So, I’ll do it-
PM: Put the interlude somewhere.
JL: At the beginning. I’ll do one set of “don’t let me downs.” Uh. Like she do me, ooh she do me, yes she do me. Ooh, she do me. Yes she do me.
PM: [giggling] Ooh she do me. Yes she do me. [singing] No one loved me like she do…
JL: [speaking] And if somebody ever loved me half as much as she do me, ooh she do me, yes she do me. I didn’t quite get ‘round to making sense, you see. So we’ll see what happens. And if somebody… as much as she do me…
PM: You’ll either get into one that you’ll feel like cutting sense out, making sense of them all.
JL: Yeah, well. Yeah. “Don’t you know it’s gonna blast.”
D2- 24- Don’t Let Me Down 2.54
[slate]
[instrumental, unintelligible chatter]
D2- 25- Improvisation 2.55
[instrumental, unintelligible chatter]
Yoko Ono: [to JL] Did you see this? It’s fantastic. [unintelligible]
GH: [to RS] A long thin one. And it was a baby bluish color. But it was very smooth, see we did it and got it bumpy.
JL & YO: [giggling]
YO: It’s too much, isn’t it?
RS: ‘Cause I did three of them. I wrapped ‘em all up, didn’t know which was in which. See what people would get. Did you get yours?
GH: Like a little enamel.
PM: I got magic. Finger paints.
RS: Oh, you lost yours as well.
PM: Oh no.
RS: Little tiny piece of enamel.
GH: Just a little thing wrapped up on the top. Like a bit of metal.
PM: Oh.
GH: A bit of copper with enamel on it.
PM: What is it? What was it?
D2- 26- Unknown 2.56
[instrumental]
D2- 27- Don’t Let Me Down 2.57
JL & PM: [in harmony] Ooh she do me / Yes she do / Don’t let me down / Don’t let me down / Don’t let me down / Don’t let me down / ‘Cause I’m in love for the first time / Don’t you know it’s gonna last / It’s a love that lasts forever / It’s a love that has no past / Don’t let me down / Don’t let me down / Don’t let me down / Don’t let me down / And from the first time that she really done me / Ooh she done me / She done me good / I guess nobody ever really done me / Ooh she done me / She done me good / Don’t let me down / Don’t let me down / Don’t let me down / Don’t let me down.
GH: I think the break could be just there.
JL, PM, & GH: [in harmony] Don’t let me down.
GH: [vocalizing]
PM: Or maybe…
GH: But it can’t, you see, because of the way the break is there, anyway, it’s so short… It’s so short that it’s like one beat.
PM: [vocalizing] It sounds [unintelligible]. It sounds like you’re [singing] And no one ever…
GH: I’d like this chord in that bit, maybe, if you’d like. Y’know that, if you’re doing that. Just have that.
D2- 28- Don’t Let Me Down 2.58
[instrumental]
D2- 29- Well, All Right 2.59
GH: Any buns, or anything?
JL: Yeah, there’s some. There’s some things like buns here. George?
GH: Thanks.
JL: Oh.
GH: Oh. Anything, uh. Oh no. It’s okay, you can take it.
JL: It’s a bit dry.
GH: Do you want some sandwiches?
YO: George, there’s some, uh…
GH: Uh, we don’t eat these.
YO: It’s a vegetarian thing.
GH: Paul, do you want some sandwiches? Hang on. [whistles]
MLH: Ray.
JL: Do you want a dry bun?
GH: Oh. Don’t eat that.
JL: I mean, it’s nice, but it’s…
GH: A dry bun, yeah.
JL: It’s like a rock cake. Needs butter or something.
YO: These are vegetarian if you want some, George.
RS: Some rolls and things.
GH: [muffled, eating] That’s what I want.
[instrumental]
D2- 30- Well, All Right 2.60
[slate]
GH: [singing] Well, all right / Well all right / Well all right. [unintelligible] Well all right / Well all right / Well all right.
JL: Should we do another, then? [unintelligible]
PM: E.
D2- 31- Unknown 2.61
PM: [singing] Don’t let me down [vocalizing]
[slate]
D2- 32- All Things Must Pass 2.62
GH: [singing] Sunrise doesn’t last all morning / A raincloud doesn’t last all day / [mumbles] left you with no warning / And it’s always be that grey / All things must pass / All things must pass away / Sunset doesn’t last all evening / A wind can blow those clouds away / Love is up and must be leaving / But it’s not always be that grey / All things must pass / All things must pass away.
D2- 33- Two Of Us 2.63
PM: Uh. Just for the time being, when it goes funny, I’ll give you a wink and do four in the bar. ‘Cause it’s one of those where that’ll fit. It’ll be better- it goes sort of like into a waltz or something. But you’ll get the idea. One, two, three, four.
[instrumental]
PM: [singing] Oh no, I… Me, oh, my… [giggling] Two of us riding nowhere / Spending someone’s hard earned pay / You and me Sunday driving, not arriving / On our way back home. [speaking] Wink. [singing] We’re on our way home / We’re on our way home / We’re going home / Two of us sending postcards, writing letters on our wall / You and me, burning matches, lifting latches / On our way back home / We’re on our way home / We’re on our way home / We’re going home / You and I have memories longer than the road that stretches out a- [speaking] Okay. No, just straight. [giggling] Oh, no, no, no- It goes to B flat. B flat. B flat, D minor, G minor. A minor, stay on A minor. [singing] A minor seventh to D. Ba-ba. / You and me wearing raincoats, standing solo, in the sun / Two of us getting nowhere, chasing paper, on our way back home / We’re on our way home / We’re on our way home / We’re going home. [speaking] Middle eight, B flat. [singing] You and I made memories / Longer than the road that stretches out ahead / Two of us wearing raincoats, standing solo in the sun / You and me chasing paper, getting nowhere, on our way back home / We’re on our way home.
GH: When does it change?
PM: [singing] We’re on our way home. [speaking] Don’t know, really. [singing] We’re going home. [speaking] So stop there. It goes, um. I’ll do a verse, just…
GH & PM: [vocalizing]
PM: No, I think it goes, [singing] We’re on our way back home. [vocalizing] [speaking] It’s like [singing] On our way back home / We’re on our way home / We’re on our way home / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
GH: Just play that straight? Straight, like, four?
PM: What’s that?
GH: Like [vocalizing].
PM: [singing] We’re on our way home. [speaking] Two, three. [singing] We’re on our way home. [speaking] Two, three. [singing] We’re going home. [speaking] Two- It goes into waltz, goes into three. [singing] We’re on our way home / We’re going home. [speaking] Then the last one is, like, just quick. Just is “we’re going home” very quick. But it goes [singing] On our way back home. [speaking] Two, three, four. Oh! [singing] On our way back home / We’re on- [speaking] See, I’m not sure, I think-
GH & PM: [singing] On our way back home.
PM: It is, it’s [singing] On our way back home. [vocalizing] We’re on our way home / We’re on our way home / We’re going home. [speaking] It just stops there. [singing] We’re going home. [speaking] Mm, so it just changes from 4/4 to 3/4. So it goes [singing] On our way back home. [speaking] Two, three. [singing] We’re on our way home. [speaking] Two, three. [singing] We’re on our way home. [speaking] Two, three. [singing] We’re going home / We’re on our way home. [speaking] Repeat now. [singing] We’re on our way home. [speaking] Then short. [singing] We’re going home. [speaking] And that’s, like, a break. [vocalizing] [singing] Two of us wearing raincoats, standing solo in the sun / You and me chasing paper [mumbling]. On our way back home / We’re on our way home / We’re on our way home / We’re going home. [speaking] That’s the strange bit, but it’s like, [singing] We’re on our way back home / We’re on our way home / We’re on our way home / We’re going home / Two of us- [speaking] I’ll go from the beginning. Try and catch it each time. Two, three, four. [singing] Two of us riding nowhere / Spending someone’s hard earned pay / You and me burning [mumbling] on our way back home / We’re on our way home / We’re on our way home. [speaking] See, whenever it goes [singing] On our way back home / We’re on our way home / We’re on our way home / We’re going home. [speaking] So, we’ll just have to sort of learn that.
GH: [unintelligible]
PM: Yeah.
D2- 34- We’re Goin’ Home 2.64
PM: ‘Cause it’s supposed to be in harmony, see. [singing] We’re going home! [giggles]
PM: [silly voice] A-one. A-two. A-one a-two a- [noises] -huh! [singing] Two of us riding nowhere / Spending someone’s hard earned pay / You and me, Sunday driving, not arriving / On our way back home / We’re on our way home. [speaking] That was it, though, that was the beginning. [singing] On our way back home / We’re on our way home / We’re- [speaking] It’s like, [singing] We’re on our way home / We’re on our way home / We’re going home. [speaking] Just keep going through it, and I think you’ll get it. It’s still the singing, though, is weird, so I’ll try and rhythm it. So you get the idea. Two, three, four. [singing] Two of us riding nowhere / Spending someone’s hard earned pay / You and me getting nowhere, Sunday driving / On our way back home / We’re on our way home / We’re on our way home / We’re going home / Stop.
GH: It just goes A to C, that.
PM: [singing] Two of us sending postcards, writing letters.
PM & GH: [in harmony] On our wall.
PM: You and me burning matches, lifting latches.
PM & GH: On our way back home / We’re on our way home / We’re on our way home.
PM: [unintelligible] It works, y’know, but. Ah. [singing] On our way back home / We’re on our way home / We’re on our way home / We’re going home / Two of us sending postcards, writing letters.
PM & GH: [in harmony] On my wall.
PM: [singing] You and me burning matches, lifting latches / On our way back home / We’re on our way home / We’re on our way home / We’re going home. [speaking] Middle eight now. [singing] You and I have memories longer than- [speaking] See, that’s, I’ve never stopped on that bit yet. Yeah. I’ve just gone [singing] On our way… / We’re going home / You and I have memories longer than the road that stretches out ahead / You and me wearing raincoats / Standing solo in the sun / Two of us driving nowhere / Getting [mumbling] / We’re on our way home / We’re on our way home / We’re going home. [speaking] Middle eight now. [singing] You and I have memories longer than the road that stretches out ahead.
[slate]
PM: [singing] -wearing raincoats / Standing solo in the sun.
D2- 36- Two Of Us 2.66
PM: [singing] Two of us riding nowhere / Spending someone’s hard earned pay / You and me Sunday driving, not arriving / On our way back home / We’re on our way home / We’re on our way home / We’re going home / Two of us sending postcards / Writing letters-
[tape cuts]
D2- 37- Two Of Us 2.67
PM: [singing] You and I have memories longer than the road that stretches out ahead. [vocalizing] You and me wearing raincoats / Standing solo.
GH: [unintelligible]
PM: In the sun. [speaking] Three on that. [vocalizing] Three harmonies.
PM, GH, & JL: Back home.
PM: [singing] We’re on our way home / We’re on our way home / We’re going home / Oh, you and I- [speaking] I was doing it. When I was playing it through, the first time. I was just doing, the second time, just a lightning middle eight. Just [singing, fast] You and I have memories longer than the road that stretches out ahead / You and- You and I have memories longer than the road that stretches out ahead. [vocalizing] Two of us wearing raincoats / Standing solo, in the sun. [vocalizing] On our way back home / We’re on our way home / We’re on our way home / We’re going home.
JL & PM: [in harmony] Two of us going nowhere. [mumbling]
PM: Henry Cooper / You and me, Henry Cooper / Henry Cooper / Henry Coop. [giggles]
JL & PM: You and me, Henry Cooper.
PM: It’s not, it’s not-
JL: [singing] Charlie Mingus.
PM: It’s not [singing] You and me… [speaking] It’s, like, really straight. [singing] Two of us driving nowhere. [vocalizing]
JL & PM: [in harmony] [vocalizing] -way back home / We’re on our way home / We’re on our way home / We’re going home.
PM: We’re going home!
JL: [silly voice] We’re going home.
PM: So, do it from the beginning like harmonies. Those are the words, if you can see ‘em.
JL: Do you want me to sing the melody, then?
PM: Yes. [singing] Two of us riding nowhere / Spending someone’s hard earned pay.
GH: [unintelligible]
PM: Yeah. Sing later.
GH: Last one. Tell me when it’s the last one. After the second middle eight.
D2- 38- Two Of Us 2.68
JL & PM: [in harmony] Burning matches, lifting latches / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
[instrumental]
D2- 39- Two Of Us 2.69
PM: [singing] Two of us riding nowhere…
[slate]
D2- 40- Two Of Us 2.70
PM: [singing] …Our way back home / We’re on our way home. [speaking] See, somehow, if you could keep it sounding like it’s not changed. I dunno how you can do that.
JL: Shut your eyes.
PM: [laughs] You know, when you’re playing on the guitar, you can’t hear it change beat, really. Except, when you [mumbles]. So it’s like four in the bar. Like [singing] On our way back home / We’re on our way home. [speaking] Yeah, it’ll be that. Yeah, it’ll do it. [singing] We’re going home. [speaking] Okay, do it from the beginning. One, two, three, four.
JL & PM: [in harmony] Two of us riding nowhere / Spending someone’s-
[tape cuts]
D2- 41- Two Of Us 2.71
PM: [singing] …back home / We’re on our way home / We’re on our way home / We’re going home. [speaking] Last middle eight now. [singing] You and I have memories longer than the road that stretches out ahead. [speaking] Yeah, it’s… well, we’ll do something like that. But it’s like if you do one, two, two, two- [singing] You and I have memories longer than the road that stretches out ahead.
JL & PM: [in harmony] Two of us wearing raincoats / Standing solo in the sun / Two of us chasing pasta [gibberish] / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
PM: [singing] We’re going home / We’re going home / We’re going home / We’re going home!
JL & PM: [vocalizing in harmony]
GH: Have you got a pen? So we can put the chords down?
JL: [singing] Son of a [gibberish].
PM: Have you got a pen?
JL: [singing] Green potato / Oh my god.
[instrumental]
PM: [singing, comically] You and me have memories longer than the road that stretches out ahead! [normally] Two of us [vocalizing] / Two of us riding nowhere.
JL & PM: [in harmony] Spending someone’s hard earned pay / You and me [mumbling] / …way back home.
PM: We’re on our way home / …Way home / We’re going home / Two of us sending postcards.
JL & PM: Writing letters, on my wall. [vocalizing]
PM: …back home / We’re on our way home / We’re on our way home / We’re going home / You and I have memories longer than the road that stretches out ahead. [vocalizing]
JL & PM: Standing solo in the sun / You and me chasing paper, getting nowhere / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
PM: You and I have memories, longer than [comically loud] the road that stretches out ahead! Oh!
JL & PM: Two of us wearing raincoats, standing solo, in the sun / You and me [vocalizing] / Back home / We’re on our way home / We’re on our way home / We’re going home.
PM: Home!
D2- 42- It’s Good To See The Folks Back Home 2.72
JL: [silly voice] Welcome home, boys.
PM: [giggling] [singing] Oh, it’s good to see the folks back home! Been a long road!
[slate]
JL: So what kind of super[?] backing do we do?
PM: I dunno, I can’t see the bass anywhere in it. [vocalizing with bass]
D2- 43- Two Of Us 2.73
PM: [vocalizing with bass]
JL: [unintelligible]
PM: I’ll get it. It doesn’t worry me, though. Two weeks, we’ll get something. [laughs]
JL: Yes.
PM: Okay, one, two, three, four. I’ll just vamp.
[instrumental]
PM: Just straight, on the one note. ‘Kay.
JL & PM: [in harmony] Two of us riding nowhere / Spending someone’s hard earned pay / You and me [mumbling] / Writing letters / On my way back home / We’re on our way home / We’re on our way home / We’re going home.
PM: [exclaims]
JL & PM: [in harmony] Two of us writing postcards, sending letters, on my wall / You and me burning matches, lifting latches / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
PM: [singing] Keep going- / You and I have memories longer than the road that stretches out ahead. [vocalizing]
JL & PM: [in harmony] [vocalizing] …in the sun / You and me [vocalizing] / Getting nowhere / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
PM: [singing] You and me have memories longer than the road that stretches out ahead.
JL & PM: [in harmony] Two of us wearing raincoats, standing solo, in the sun / You and me getting nowhere [vocalizing] / …back home / We’re on our way home / We’re on our way home / We’re going home.
PM: [speaking] Let’s try it all quieter, so that we’re all, sorta… listening to what… What do you think of that fast middle eight? Sort of getting a bit sneaky on me, now.
JL: Is it?
PM: [singing] You and I have memories longer than the road that stretches out ahead. [speaking] If we made everything sound fast, it would be nice. [singing] You and I have memories longer than the road that stretches out ahead. [vocalizing] [speaking] Okay. One, two, three, four.
JL & PM: [in harmony] Two of us riding nowhere / Spending someone’s hard earned pay / You and me Sunday driving, not arriving / On our way back home / We’re on our way home / We’re on our way home / We’re going home / Two of us sending postcards…
John Lennon: [singing] Don't let me down / Don't let me down / Don't let me down / Don't let me down / I’m in love for the first time, so please don't let me down / Don't let me down!
JL & George Harrison: [in harmony] Don't let me down! / Don't let me down / Don't let me down.
JL: Nobody ever love me like she do me / Oh she do me / Yes she do / And if somebody ever loved me half as much as she do me / Yes she do / Oh, she do.
JL & GH: Don't let me down / Don't let me down! / Don't let me down / Don't let me down!
JL: 'Cause I'm in love for the first time / Don't you know it's gonna last / It's a love that lasts forever / It's a love that has no past.
JL & GH: Don't let me down, don't let me down! / Don't let me down, don't let me down!
JL: 'Cause I'm in love for the first time- [speaking] No, just- [singing] Darlin' please don't let me down.
GH: Hi, Ringo. Happy New Year.
Ringo Starr: Hi, George!
JL: Hi, Ringo. Happy New Year.
RS: Happy New Year.
JL: Are you gonna give George his diary?
GH: Oh, yeah.
JL: And then I wrote- [strums] -that's the most finished.
GH: That's a good one. I like simple tunes. [chuckles]
JL: Yeah.
GH: You want a smoke?
JL: Yeah, have you got one?
[background chatter]
GH: Hello? Hare Krishna?
JL: Hi.
GH: [unintelligible]
[shuffling]
GH: [singing quietly] Don't let me down-
JL: I think it's probably better to rehearse in a small room after, you know? It's no good otherwise.
GH: It'd be nice for the acoustics in a cozy dressing room.
JL: It's nice with these off, if you could just get a little mic- I've been writing them all, it's just so much better, you know- You just get- 'Cause you start- 'Cause you think electric then.
D1- 15- Dig A Pony 2.04
JL: [singing] I-I-I dig a pony.
RS: [chatting unintelligibly]
JL: [singing] You can celebrate anything you want, you can celebrate anything you want / Because I-I-I dig a pony / You can celebrate anything you want, you can celebrate anything you want! / Because all I want is you! [gibberish] / I-I-I dig a pony.
GH: Dig the pony?
JL: Yeah, dig a pony. [singing] Dig a pony / Yes you can celebrate anything you want, you can celebrate anything you want / Because I-I-I dig a hound dog / You can penetrate any place you go, [gibberish] any place you go! / Because all I wanna do… [gibberish] [speaking, unintelligible]
[music stops]
JL: Have you heard Eric Burdon's new one? It's pretty good.
RS: It's an old one, isn't it?
JL: Yeah, "Ring of Fire".
RS: Yeah, that's right, Johnny Cash.
JL: His voice sounds great on it. You know, sounds like he's got back to "House of the Rising Sun".
RS: That show they did, all the writers say it was great.
JL: The Stones show?
RS: No, The Animals Show. They all formed up again to do a show.
JL: Oh, yeah. Fuckin’ terrible.
RS: [laughs]
D1- 16- Everybody Got Song 2.05
[instrumental]
JL: [singing] Everybody got a [gibberish]. Everybody got a piece of toast to chew on. Everybody got song! Everybody got song! Everybody got a piece [gibberish].
D1- 17- Don't Let Me Down 2.06
JL: [singing] Don't let me down!
JL & GH: [in harmony] Don't let me down! / Don't let me down! / Don't let me down!
JL: 'Cause I'm in love for the first time. [speaking] Every song's on the same chord.
GH: Yeah, I noticed. [laughs] It's the minor key too.
JL: [singing] Oh, no, please don't let me down.
JL & GH: [in harmony] Don't let me down / Don't let me down / Don't let me down / Don't let me down.
JL: 'Cause I'm in love for the first time / Don't you know it's gonna last / It's a love that lasts forever! / It's a love that has no past!
JL & GH: Don't let me down / Don't let me down / Don't let me down / Don't let me down.
[John playing guitar]
GH: What's that bit?
JL: [stops playing] What?
GH: That bit.
JL: Oh. [singing] 'Cause I'm in lo- 'Cause I'm- Ah.
GH: We’ll just learn ‘em all now and film it all this afternoon.
JL: [singing] I'm in love- 'Cause I'm in love for the first time / Please don't let me down.
D1- 18- Let It Down 2.07
GH: [singing] As you sit in another chair / I can feel you here / Looking like I don't care / But I do, I do / Hiding it all behind anything I see / Should someone be looking at me / While I occupy my mind / I can feel you here / Love to us is so well-timed / And I do, I do / Wasting away these moments so heavenly / Should someone be looking at me / Let it down, let it down / Let your hair around me.
JL: [laughing] We're gonna need three weeks to learn all these fucking chords.
GH: [singing] Let it down, let it down. [speaking] They're all just slow, is all. [singing] Let your love flow and astound me. [speaking] That's a great chord.
JL: What is it?
GH: It's like- [strums] It's the- the three- first, second, and third on the fourth fret. Just the first, second, and third. Then with those two. [strums] And open bottom E.
D1- 19- Let It Down 2.08
GH: [singing] Don't let me down! [speaking] It's awful, this.
Unknown: Have you got a screwdriver?
GH: Pardon?
Unknown: Have you got a screwdriver?
GH: Have you got a screwdriver?
D1- 20- Improvisation 2.09
[instrumental]
GH: Is that your first?
D1- 21- Brown-eyed Handsome Man 2.10
JL: [singing] Across the desert in a TWA / Saw a woman walking ‘cross the sand / She’d been walking thirty miles en route to Bombay / To meet a brown-eyed handsome man / Way back in history, three thousand years / Ever since the world began / There’s been a whole lotta good women shedding tears / For a brown-eyed handsome man.
GH: [singing] Brown-eyed handsome man.
[instrumental]
JL: You got a light, mate?
RS: No- I can give you some matches.
GH: I've got a light. Uh- [lighter flicking]
D1- 22- I've Got A Feeling 2.11
JL: [singing] Everybody had a hard year / Everybody had a good time / Everybody had a good dream / Everybody saw the sunshine / Oh yeah, oh yeah, oh yeah / Everybody had a hard year / Everybody had their hair down / Everybody had a face lift / Everybody put their foot down / Oh yeah, oh yeah, oh yeah / I've got a feeling, deep inside / My love I can't deny / Oh yeah, oh yeah! / Everybody had a hard year / Everybody had a good time / Everybody had a soft dream-
D1- 23- A Case Of The Blues 2.12 - D1- 25- Improvisation 2.13
[instrumental]
D1- 26- On The Road To Marrakesh 2.15
JL: [singing] On the road to Marrakesh / I was dreaming more or less / And the dream I had was you / And the dream I had was you.
JL & GH: [in harmony] And the dream I had was you / I'm just a child of nature / I don't need much to set me free / And I'm just a child of nature.
JL: I'm one of nature's children / Sunlight shining in my eye / As I leave the desert skies / And my thoughts return to home / Yes my thoughts return to home / I'm just a child of nature / I don't need much to set me free.
JL & GH: I'm just a child of nature / I'm one of nature's children.
GH: [speaking] Where's the console and all that?
JL: Where's the what?
GH: The mixer and the eight tracks and all that. I don't suppose they'd be here for a rehearsal.
D1- 27- Revolution 2.16
[instrumental]
D1- 28- I Shall Be Released 2.17
JL: We'll probably write some fast ones here together, y'know, all of us.
GH: [singing] They say everything can be replaced / Yet every distance is not near / So I remember every face / Of every man who put me here / I see my light come shining / From the west unto the east / Any day now.
JL & GH: [in harmony, John in falsetto] Any day now, I shall be released.
GH: [humming]
GH: [singing] Yet I swear I see my reflection / Somewhere high above this wall / I see my light come shining / From the west unto the east / Any day now.
JL & GH: Any day now, I shall be released.
GH: A list on Paul's bass.
D1- 29- Sun King 2.18
GH: [giggling] "Yesterday." [coughs] Can I have one of these?
[instrumental]
JL: Kevin?
[unintelligible conversation]
GH: That's why it's so hot.
[slate]
[instrumental]
JL & GH: [vocalizing in harmony]
D1- 30- Sun King Don't Let Me Down 2.19
RS: Little square of enamel. I don't think so. It was in the center.
[slate]
GH: We're on the day shift now.
George Martin: Yeah. [chuckles] It’s gotta be that.
RS: [background] George sent me an enameling kit.
GH: How’s Judy? [George Martin’s wife]
GM: Fine, thank you very much. Yeah. She’s uh, she’s very well, thank you.
[instrumental]
JL: [singing] Don't let me down / Don't let me down / Don't let me down / Don't let me down / Don't let me down / Don't let me down.
JL & GH: [in harmony] Don't let me down / Don't let me down.
JL: Don't let me down / Don't let me down / Don't let me down / Don't let me down / Don't let me down / Don't let me down / I'm in love for the first time / Please don't let me down / Don't let me down.
Paul McCartney: You look very nice.
JL & GH: Don't let me down / Don't let me down / Don't let me down.
JL: I'm in love for the first time / Don't you know it's gonna last / It's a love that lasts forever / It's a love that has no past / I'm in love for the first time / So please don't let me down.
JL & GH: Don't let me down / Don't let me down / Don't let me down / Don't let me down.
JL: I'm in love for the first time / Don't you know it's gonna last-
GH: [to PM] Happy New Year.
JL: [singing] -It's a love that lasts forever.
PM: Thanks. Same to you.
GH: [reading the list on Paul’s bass] "Rock n' Roll," "She's a Woman," "If I Needed," "Tripper," "Baby's in Black," "I Feel Fine," "Yesterday," "I Wanna Be," "Nowhere Man," "Paperback," "Long Tall."
PM: [chuckles] And it's right handed.
GH: Is it?
PM: Yeah.
GH: Kevin!
PM: Mr. Hogg would like you turn down- [drowned out by Ringo drumming] -mic-
MLH: Can you turn down your amps a little bit more than that?
JL: Why?
PM: You’ll be fine. If you turn down a little bit, you're gonna be-
[unintelligible chatter, Ringo drumming]
GH: The reason we have it this loud is because Ringo has now joined the band.
JL: Well we can't go on like that rehearsing or we'll never get into any fun.
MLH: It's just that your voices, the conversation is being drowned a little bit.
PM: Yeah.
D1- 31- Don't Let Me Down 2.20
MLH: This is just a fraction-
GH: Are you recording our conversation?
MLH: [unintelligible]
JL: [singing] Don't let me down / Don't let me down!
JL & GH: [in harmony] Don't let me down / Don't let me down!
JL: Cause I'm in love for the first time / So please don't let me down!
JL & GH: Don't let me down / Don't let me down / Don't let me down / Don't let me down!
JL: For the first time- [speaking] Oh no, that's- [singing] Don't let me down!
PM: [unintelligible chatter]
JL: [singing] Don't let me down / Nobody ever loved me like you do me / Do me, yes you do / And if somebody ever loved me half- [speaking] How can I get in? [singing] And if somebody loved me half as much as you do me-
GH: As you do me?
JL: Yeah.
JL & GH: [in harmony] And if somebody ever loved me half as much as you do me / Yes you do me / Yes you do / Don't let me down / Don't let me down / Don't let me down / Don't let me down!
JL: I'm in love for the first time / So please don't let me down.
PM: [singing] Yeah, don't let him down / Oh lord, please-
JL & PM: [in harmony] Don't let him down!
JL & PM & GH: Don't let him down / Don't let [him/me] down!
JL: [speaking] Now don't let me down!
PM & GH: [in harmony] Don't let him down!
PM: What key in? E?
JL: E.
GH: Tune up or down, maybe we're wrong.
PM: I dunno, I’ll come with you.
JL: No, I think we're about concert.
D1- 32- The Teacher Was A-lookin 2.21
JL: [singing] Well you were playin' your high class game / And the teacher was a-lookin', child / ‘Cause you were playin’ your high class game / Well don't you ever do that again.
GH: Go, Johnny, go, go / Go, Johnny, go, go / Go, Johnny go, go! / Go, Johnny go, go! [speaking] [unintelligible question]
JL: Oh, is he one of the Hare Krishnas or something? [pause] Who's that little old man? [laughs]
PM: [laughs] Clean, though.
JL: It's a bit daft him up there, isn't it? For a rehearsal.
PM: [chuckles] Yeah.
JL: I don’t think we’ll end up here.
PM: We should all be up on that. We should all be up there.
JL: I think we should rehearse in a room, or in a corner, or something.
PM: Well the thing about that is-
JL: 'Cause they won't be rehearsing shots for three weeks.
D1- 33- Don't Let Me Down 2.22
PM: But I thought, y’know, two things, it's like, eyes on us-
GH: He's got an open shot-
PM: There's gonna be those eyes on us too-
JL: It'd be nice if we had a PA!
PM: We might lose them, the viewers.
JL: Yeah, and then it's easy to-
PM: As I was saying to Mal, keep all the audience out, you know-
JL: Like this then-
PM: But I suddenly realized that if they all just drift in, we'll just be used to all sort of-
D1- 34- Don't Let Me Down 2.23
PM: -eyes on us.
JL: There would be wherever we went, y'know. They drift in. But I think we should sort of- like this, though-
GH: Maybe we should learn a few songs first.
JL: Yeah, sort of Ringo should be near so we can just sort of communicate a bit, and then-
GH: Maybe he should sit over here-
JL: -then we should get a PA in after about two days when we know what and try it like that. ‘Cause that's the best bit. [giggles] You know, PAs, it's great.
D1- 35- Sun King 2.24
PM: Yeah, it's gotta be very rehearsed, our PA, uh, the sound in here, and so even when we're recording-
GH: I don't think this is a very acoustically good place. It's just- echoey, we'll have a bit of echo.
PM: I know. Well, any- anyway, if you can think of anything good I'll order that, you know, if you can think of a "we might do that," in the next couple of days, like-
GH: We could get a PA like at the Top Ten in Hamburg, you know, one of those Binson Echorec things.
D1- 36- Mailman, Bring Me No More Blues 2.25
PM: Yeah, sure.
GH: -and have a little one of them.
PM: See there might even be a better room-
GH: [coughing]
PM: There might be a little hall, you know, just… ‘Cause I seem to have heard there's a few little buildings around [singing] which we could use!
JL: Do you wanna sing a few?
PM: No, no, no, it's alright.
D1- 37- I've Got A Feeling 2.26
JL: [singing] Got a feeling-
PM: Okay, “I’ve Got A Feeling.”
[instrumental]
PM: It goes- [singing] I've got a feeling / A feeling deep inside / Oh yeah.
JL: [singing] Oh yeah.
GH: Oh yeah.
PM: I've got a feeling / A feeling I can't hide / No no.
JL & PM: Oh no!
GH: Oh no!
PM: [singing] Oh no- ah! [speaking] E, E- [singing] Yeah, I've got a feeling- [speaking] There's three chords there, then it stops and goes E, D- Yeah, so it goes- Just go from “I’ve got a feeling I can’t hide.” [singing] I've got a feeling / A feeling I can't hide / Oh no / Oh no! [speaking] Then it goes seventh- [singing] Oh no! / One, two, three, yeah / I've got a feeling / Oh please believe me-
JL: Yes I will!
PM: [singing] I hate to miss the train / Oh yeah.
JL & PM: Oh yeah!
PM: And if you leave me / I won't be late again / No no / Oh no, no no / No, no / No! / One, two, three / I've got a feeling! [speaking] Then it goes to E- [singing] All these years I've been wandering around- [speaking] G! [singing] -wondering how come nobody- [speaking] D! [singing] -all that I was looking for was somebody who looks like- [speaking] Stop!
PM: A longer stop, of just-
JL: Yeah.
PM: Just- [strumming] Just- [singing] All that I was looking for is somebody who looks like you. [vocalizing with the guitar] A very slow one.
JL & PM: [in harmony] Oh please believe me / I'd hate to miss the train / Oh yeah / Oh yeah! / But if you leave me / I won't be late again / No no / No no / Oh no! / Oh no!
PM: [singing] I've got a feeling! [speaking] Do that little bit there- [singing] All these years I've been wandering around / Wondering how come nobody told me / All that I was looking for was somebody who looked like you!
D1- 38- Unknown - Unnumbered
[instrumental, vocalizing]
D1- 39- I've Got A Feeling 2.27
JL: I've got something to do at the end that-
PM: Yeah.
JL: -makes it interesting-
PM: [singing] Everybody had a hard year-
JL: -and you're the guitarist, so there you go- [laughs]
[slate]
JL: Tell him how you did that bit you were doing today.
PM: [American accent] Okay, John.
JL: For that.
PM: It was sort of just- it was just very slow, it was just- [vocalizing with guitar] Just put it in. You know, something, I dunno. [vocalizing with guitar]
JL: We should have a bass- a bass and guitar all in one.
PM: Yeah.
JL: Be great, wouldn't it?
PM: Well, no, two people should have bass and guitar.
JL: Oh, yeah.
PM: So that when one takes bass, the other’s guitar.
JL: Yeah. Yeah.
PM: 'Cause that was always the drag- the bass'd drop out-
JL: Yeah.
PM: -we'd swap it.
GH: [to Unknown] If you get the, uh- when they do the copy, you should leave the copy at uh… the copy they make with Ron Kass [head of Apple Records] or something, and bring me back this one and the small mono remix, the rough remix.
PM: [singing to himself] I've got a feeling.
Unknown: The mono remix, and this, and the masters of take two.
GH: Yeah. Or, if- if-
D1- 40- I've Got A Feeling 2.28
[Instrumental]
D1- 41- I've Got A Feeling 2.29
PM: [singing] Oh yeah, yeah!
[slate]
JL & PM: [in harmony] Yeah, yeah, yeah!
D1- 42- I’ve Got A Feeling 2.30
PM: [singing] Oh yeah / I’ve got a feeling…
JL: Everybody had a hard year / Everybody had a good time / Everybody had a wet dream / Everybody saw the sunshine / Oh yeah, oh yeah, oh yeah!
PM: [vocalizing]
JL: Everybody had a hard year / Everybody got a [mumbles] / Everybody had a face lift / Everybody put their foot down, come on.
PM: I’ve got a feeling, yeah / A feeling deep inside / Yeah yeah
JL: Oh yeah!
PM: And don’t you know! / I got a feeling / A feeling I can’t hide / No no!
JL & PM: [instrumental, vocalizing]
JL: [singing] I got a feeling I want it!
PM: Just at the end, there? Or do you mean…
JL: No, no. I didn’t mean anything, I just got into it.
PM: Right. Right.
JL & PM: [instrumental, vocalizing]
[slate]
JL: Well, so now, I think the next move is for George to get on lead.
GH: To get on what?
JL: On lead.
PM: Yeah.
JL: Just start playing ‘round it, all through it, so it’ll end up with just me doing that.
PM: Yeah, you know, you’ve been doing those breaks. But you’ve gotta…
JL: Yeah, I’m not the–
PM: Okay.
JL: I was just… to get the length–
PM: So all I was doing for that, I’ll show you what I was doing exactly.
JL: Show it.
PM: [demonstrates instrumental] It doesn’t matter what you play, it’s just like, it’s the rhythm of what I was doing that’s the only thing. Okay, so it’s in another key.
JL: Okay.
PM: So it’s like, um. It goes, [singing falsetto] All these years I’ve been wandering around / Wondering how come nobody told me / All that I’ve been looking for was somebody who looked like you.
[instrumental]
PM: Just, just coming down it was [playing, vocalizing] Down. It’s just in that break, there. So do you wanna try that break?
[instrumental]
PM: [singing] All these years I’ve been wandering around / Wondering how come nobody told me / D that I been looking for was somebody who looked like you. [vocalizing] Oh yeah / Yeah, yeah / Oh! / I’ve got a feeling, yeah… [speaking] Do the middle again. Middle E! [singing] Well all these years I’ve been wandering around / Wondering how come nobody told me / All that I was looking for was somebody who looked like you / Oh! / I’ve got a feeling / Yeah! / A feeling deep inside / Oh yeah / Oh yeah, yeah / I’ve got a–
JL & PM: [in harmony] –feeling / A feeling I can’t hide.
PM: No, no / Oh no / No, no / Yeah, yeah / Oh yeah! / I’ve got a feeling.
GH: Just that bit, uh…
PM: Okay.
GH: One, two…
PM: Two, three four. All– oh.
GH: Just that bit that’s E– It’s E, D, G, is that all?
JL: Yeah.
PM: Yeah. Be nice if, if you did [strums] and held on your– just you held on.
[instrumental]
[slate]
PM: So you, you just go through it. [unintelligible] Okay! Do it from the, do it from the lead-in. One, two, three, four.
[instrumental]
PM: [singing] I’ve got a feeling / A feeling deep inside / Oh yeah.
JL & PM: [in harmony] Oh yeah / I’ve got a feeling / A feeling I can’t hide / No no.
PM: Oh no! / No, no / Got a feeling! / Oh, please believe me.
JL & PM: I’d hate to miss the train / Oh yeah / Yeah / And if you leave me / I won’t be late again / No, no, no.
PM: Gotta feeling / Well, all these years I been wandering around / Wondering how come nobody told me / All that I been looking for was somebody who looked like you! / I’ve got a feeling / A feeling deep inside / Yeah, yeah / Yeah! Yeah, yeah!
JL & PM: I’ve got a feeling / That everybody knows / Yeah / Oh yeah!
PM: [singing] I’ve got a feeling. [speaking] Take it, Johnny! Yeah, boy!
JL: Everybody had a hard year / Everybody let their hair down / Everybody had a wet dream / Everybody saw the sunshine / Oh yeah.
PM: Oh yeah!
JL: Oh yeah.
PM: Oh yeah!!
JL: Everybody had a hard year / Everybody let their hair down / Everybody saw the wet dream / Everybody put the foot down / Oh yeah.
PM: Oh yeah!!
JL: Oh yeah!
PM: Oh yeah! / Well, well!
JL: [speaking] Oh– no, oh yeah. What was it?
[instrumental, vocalizing]
GH: The only way to tell where it’s stopping doing that, is when you do that.
D1- 43- I’ve Got A Feeling 2.31
JL: Okay, so I’ll do the last one. [singing] Everybody had a hard year / Everybody let their hair down / Everybody had a face lift / Everybody put their foot down / Oh yeah!
PM: Can you play- can you play back on that little tape?
GM: [unintelligible]
PM: On earphones? And you’ve been taping it? So can I listen to some?
JL: [giggles]
GM: Um, we’re gonna have a break [unintelligible].
D1- 44- Unknown 2.32
[background instrumental]
PM: –very low, but…
GM: [unintelligible] –still sound good. Do that, all you need is really a good, a good acoustic place to be in.
PM: Which this isn’t.
GM: Which this isn’t.
PM: Um, nobody’s, sort of, definitely struck on this place. George was saying before, it’s not good acoustically. So maybe there’s [unintelligible] and we just suddenly, around lunch time, feeling good. We’ve got two weeks in which to, sort of, play this. And I think, sometime, y’know, we’ll all say ‘Right, everybody out of here, it’s much too big. Into the hut.’ And we’ll just cram people into the hut. Really, like a Cavern thing, y’know, a hut with great, y’know.
GM: [unintelligible] It doesn’t work for your people, but it certainly works for the sound quality.
MLH: Mm.
PM: Yeah, ‘cause we did this, uh…
GM: We’ve done this before. Put them all in tiny rooms, so in fact, the kickback off the wall is so immediate that it’s there. Y’know.
MLH: This presence there, and then, as we say, this presence there.
PM: Well, it’ll be alright for him, too. I mean, you…
MLH: This is fine for the documentary, for a day or two, but it’s… then you want action there. Visually, anyway.
PM: That’s good, you know. ‘Cause as long as we’re just playing this, like that.
MLH: But he–
PM: Y’know, as long as we all want to get it. Which we all do, we all want to get into a [unintelligible] where we’re all happy with it. So that it sounds happy.
GM: I like the idea of you working with a big PA, though, because I think it would trigger off something with you. It’d be like doing a live performance with a– y’know.
PM: Yeah, but out of doors here is sort of freezing!
MLH: Yeah.
PM: It’s that, you’ve got that against that.
GM: Have you had very loud sounds in here, Denis, can you..?
Denis O’Dell: Sorry George, what?
GM: Have you had very loud sounds in here, recording?
DO: Um.
[unintelligible overlapping voices]
DO: -any dialogues, you see. Any music recording, I think it’s done in the other theater, you see. Normally. In the dubbing theater.
GM: Sound stage.
DO: Yeah.
PM: See, we might have to do it there.
GM: Where’s that?
PM: The dubbing theater.
GM: I know, it’s not very big.
PM: It’s not big, no.
DO: Yeah, because you see, what they do here, or any studio, if you’re gonna do that sort of thing, is to put out little structures, you know, on the stage. But they’ve been [unintelligible].
MLH: My real feeling is that the venue itself ought to be quite good, as opposed to shabby.
DO: I tell you what, there’s a small stage here, which is sound-proof, you could have a look at. I just don’t know whether I’m building on it or not today, because I know I’m erecting on one. But I can have a look and see.
PM: Is this your place, Twickenham?
DO: Yeah! Well, I’ve just, I’ve got it under contract ‘til the end of May, from last week. December 25th.
MLH: I just feel if we could get a spectacular venue, we’d gain rather than lose.
PM: Oh, we’ll be alright, it’s just… We’ll play it! Y’know, we’ll just play it. It’ll, y’know, we’ll move out of here in a couple of days.
DO: When you’re ready, that’s right.
PM: Or maybe we won’t, y’know, maybe we’ll get great in here, y’know.
[overlapping voices]
DO: Let’s have a look at the small stage, it’s just one more over, which is a tiny stage, which is nice.
MLH: Now?
DO: We could- Yeah, we’ll do it. Or later on. I was just saying do a couple of days and then see what happens. Get a bit of film, and…
PM: See, I mean, we’re gonna have to, sort of, go out, out looking around, and look around anyway. And it’s… it’s nearly always when you’ve had a great lunch, and you’re just feeling good, and someone just walks past, y’know, [silly voice] “I just had this idea”. And it really works better like that.
DO: Yeah. Yeah. It’s a great rumor[?] in the pub, too
[laughter]
D1- 45- Speak To Me 2.33
GH: Did you like any of the album?
JL: Yes, I only heard one side, though. And, it was just, sorta not– half listening, y’know.
[instrumental]
GH: [singing] Speak to me, you cannot say we’re though and not say why. Speak to me, what have I done to make you cry? [mumbles] Speak to me. [mumbles] Just a word before you leave.
D1- 46- I’ve Got A Feeling 2.34
[instrumental, vocalizing]
PM: Let’s just do it from the beginning.
JL: Okay.
PM: That wasn’t from the beginning.
D1- 47- I’ve Got A Feeling 2.35
PM: [singing] I’ve got a feeling / A feeling deep inside / Oh yeah.
JL & PM: [in harmony] Oh yeah!
PM: [mumbles] I’ve got a feeling / A feeling I can’t hide / Oh no.
JL & PM: Oh no!
PM: Yeah! I’ve got a feeling!
JL & PM: Oh, please believe me / I’d hate to miss the train / Oh yeah / Oh yeah / And if you leave me / I won’t be late again / Oh no / Oh no!
PM: All these years I’ve been wandering around / Wondering how come nobody told me / All that I’ve been looking for was somebody who looked like you! / I got a feeling that keeps me on my toes.
JL & PM: Oh yeah! / I’ve got a feeling that everybody knows / Oh yeah / Oh yeah.
PM: [vocalizing] I’ve got a feeling!
JL: Everybody had a hard year / Everybody had a good time / Everybody got a [mumbles] / Everybody saw the sunshine / Oh yeah, oh yeah / Everybody had a good year / Everybody had a hair down / Everybody had a good dream / Everybody had a foot down.
PM: Oh yeah!
[instrumental, vocalizing]
GH: [unintelligible]
PM: [vocalizing] That’s the end. [giggles]
JL: That’s sorta…
[overlapping voices, instrumental]
JL: Just end on it?
[instrumental]
PM: Okay, so for now we’ll have the ending going like that. [singing] Gotta feeling- feeling deep inside / Oh no / Oh no!
JL: Just see where to go from there.
PM: Something like that, yeah.
[instrumental]
GH: Is that one called “I’ve Got A Feeling”?
D1- 48- I’ve Got A Feeling 2.36
JL: It’s called “I’ve Got A Hard-On.”
PM: Everybody had a hard-on.
JL: [singing] Everybody had a hard-on!
PM: Except for me and my monkey.
[laughter]
GH: [singing] Everybody… [mumbles]
PM: [singing] Oh yeah!!
D1- 49- Mighty Quinn (Quinn The Eskimo) 2.37
GH: [singing] Some are building monuments, others are jotting down notes / Everybody’s in despair, every girl and boy / But when Quinn The Eskimo gets here, everybody’s gonna jump for joy.
PM: Oh, come all without / Come all within / You’ll not see nothing like the mighty Quinn!
[instrumental]
D1- 50- I’ve Got A Feeling 2.38
PM: [singing] I’ve got a feeling / A feeling deep inside, oh yeah / Oh yeah! / Got a feeling / A feeling I can’t hide, oh no / Oh no! / Oh no. [vocalizing] Got a feeling.
JL & PM: [in harmony] Oh please believe me / I’d hate to miss the train, oh yeah / Oh yeah / And if you leave me / I won’t be late again / Oh no / Oh no! / Oh no.
PM: I’ve got a feeling / All these years I’ve been wandering around… / Looked like you!
GH: Isn’t that..? What’s that? [sings unintelligibly] Isn’t that from that? Like really-
PM: Oh, is it?
GH: -exactly note for note.
PM: Well, okay. So the-
JL: Doesn’t matter.
PM: It doesn’t matter, but the idea. So do something of your own, y’know. It’s really, it’s really just a bridge from that, back into the [singing] All that I was looking for was somebody who looked like you!
[instrumental]
PM: [singing] …Me on my toes, oh yeah / Oh yeah!
JL & PM: I got a feeling / I think that everybody knows, oh yeah! / Oh yeah!
PM: I said I got a feeling!
JL: Everybody had a hard year / Everybody had a good time / Everybody let their hair down / Everybody saw the sunshine / Oh yeah / Everybody had a feeling! / Everybody had a [mumbling] / Oh yeah / Everybody put their foot down / Oh yeah!
PM: Yeah! I’ve got a feeling / I’ve got a feeling… [speaking] Okay, so, uh. Everybody put the foot down.
JL: Yeah.
PM: Then we’ll just put the foot down. Put the foot down for about four or eight or something. And then back into “I’ve got a feeling” and “foot down.”
JL: I see. I’ll just read the first verse, then.
PM: Yeah. Two. Together.
JL: I do the whole lot twice, then?
PM: Yeah. Or else we write…
JL: Well, it’ll change. Y’know, there’s millions of them. I’ve got a paper with them all. Y’know, just foot down, haircut, feet up, socks up. Y’know, shoe down. Everybody had a…
PM: Socks up. Shoe.
JL: Just all of the things, there.
[unintelligible]
D1- 51- I’ve Got A Feeling 2.39
PM: [unintelligible]
JL: Okay. For my bit. [singing] Everybody had a hard year / Everybody had a good time / Everybody got a [mumbling] / Everybody had a [mumbling] / Oh yeah / Everybody had a hard year / Everybody got their hair down / Everybody pulled their socks up / Everybody put their foot down / Oh yeah!
JL & PM: [overlapping singing, I’ve Got A Feeling/“Everybody”]
PM: It’s a bit scrappy ‘round the end, but… [singing] I’ve got a feeling! [vocalizing]
[instrumental]
D1- 52- I’ve Got A Feeling 2.40
[instrumental]
D1- 53- Dialogue
Glyn Johns: So George says he’s gonna take care of it?
PM: It’s a no-no.
GJ: I wouldn’t– I don’t know, I don’t know anything technical at all! Nothing!
MLH: Where did we get the stuff from the circus for?
GJ: IBC.
MLH: IBC.
PM: Did you get a good sound, there?
GJ & MLH: Yeah!
PM: See, ‘cause the thing I don’t want, y’know, is like a TV show sound. They always seem to have that, sort of, farty little sound on TV shows.
GJ: [laughs] Well, don’t forget, you’re hearing it on a TV speaker which is a grotty speaker.
PM: But even so-
GJ: But you can get a good sound.
PM: No, whenever you used to get Cool For Cats. [laughs] When they played the record, or anything, any of the old mime shows, in the old days.
MLH: Oh yeah, it can’t come out. Because it sounds too thin on TV.
