Friday, January 24, 1969
The "Get Back / Let It Be" sessions • Day 15
For The Beatles
Last updated on March 26, 2025
Friday, January 24, 1969
For The Beatles
Last updated on March 26, 2025
The "Get Back / Let It Be" sessions
January 1969 • Songs recorded during this session appear on Let It Be (Limited Edition)
Recording studio: Apple Studios, 3 Savile Row, London
Session Jan 22, 1969 • The "Get Back / Let It Be" sessions • Day 13
Session Jan 23, 1969 • The "Get Back / Let It Be" sessions • Day 14
Session Jan 24, 1969 • The "Get Back / Let It Be" sessions • Day 15
Session January 24 & January 26, 1969 • Mixing the "Get Back" album (1st compilation)
Session Jan 25, 1969 • The "Get Back / Let It Be" sessions • Day 16
AlbumSome of the songs worked on during this session were first released on the "Let It Be (Limited Edition)" LP
On this day, The Beatles continued the “Get Back” sessions at Apple Studio in London. This marked the fourth day at their new studio and the 15th day overall for the project.
The day began without Billy Preston, who rehearsed a TV Show appearance and whose absence shifted the band’s focus away from refining “Get Back.” Instead, they concentrated on “Two of Us,” initially attempting an electric arrangement reminiscent of earlier Twickenham sessions. Ultimately, they settled on an acoustic, folk-rock approach. Though still in the rehearsal phase, Glyn Johns preserved several takes on multi-track tape. One of these would later feature on the 1996 collection “Anthology 3,” and another was selected by Johns for one of the unreleased “Get Back” albums.
The session also marked the recording debut of two songs. Paul McCartney’s “Teddy Boy“, written in India the previous year and briefly played on January 9, was captured in a version later edited with recordings from January 28 for “Anthology 3“. The song was also included in early mixes of the “Get Back” album before Paul re-recorded it for his 1970 solo debut “McCartney.” John Lennon’s improvisational “Dig It” also took shape as a blues-rock piece with ad-libbed lyrics, featuring four versions that day. A snippet of John’s speech from this session — “That was ‘Can You Dig It’ by Georgie Wood, and now we’d like to do ‘Hark The Angels Come’” — would eventually appear on the “Let It Be” album.
The day was rich in variety, with Paul experimenting with unreleased compositions like “Every Night” and “Hot As Sun” and playing “There You Are, Eddie,” a song written the previous December for Beatles biographer Hunter Davies. John played “Polythene Pam” for the only time during these sessions. He also revisited two Quarrymen-era songs: “Maggie Mae,” later included on the “Let It Be” album, and “Fancy My Chances With You,” featured on the bonus disc of “Let It Be… Naked” in 2003
Work on George Harrison’s tracks was minimal, limited to the unreleased “Window, Window.” George revisited it on subsequent days, but the song never saw an official release.
Billy Preston’s arrival in the late afternoon saw the band return to “Get Back.” However, the session ran late, and progress was limited, deferring serious work on the track for a few days.
That evening, engineer Glyn Johns headed to Olympic Sound Studios, where he spent part of the night mixing tracks recorded over the past few days.
The Beatles decided to continue rehearsing over the weekend and returned to Apple Studio the following day, Saturday, which began with Glyn Johns playing back the results of his overnight mixes.
I loved [Teddy Boy], and I was hoping they’d finish it and do it, because I thought it was really good. But my version does go on a bit, and they’re just going round and round, trying to get the chord sequence right, I suppose, and the best bit is where John Lennon gets bored – he obviously doesn’t want to play it any more, and starts doing his interjections.
Glyn Johns – The Record Producers, BBC radio – Unknown date
From beatlesebooks.com:
It was at the next session at Apple Studios, January 24th, 1969, that The Beatles decided on the acoustic guitar arrangement of “Two Of Us” as we’ve come to know it, this event being witnessed in Peter Jackson’s 2021 “Get Back” series. Concerning their rocking electric guitar arrangement, John states, “I don’t know, it’s just we’re all very stiff…but when I hear Stevie Wonder (doing it), I don’t know what his backing would be, but then you’d sing it looser (demonstrates), maybe it’s just soft.” John and then Paul both switch to acoustic guitars to give that a try, Paul stating, “I’d like not to be playing bass on these ones because it’s so silly, ’cause I wrote them on guitar, y’know, and it’s just a bit like ‘Peggy Sue.'” Ringo follows this suggestion by switching to tom beats as heard on this Buddy Holly classic.
George adds that “it’s a drag when there’s no bass,” to which Paul replies, “I quite like those ones where there isn’t bass. We’ve done a few, (like) ‘I’ll Follow The Sun.’ They’ve all tended to be that kind, but they’re nice, y’know. They lose a big bottom, you know, but they gain a slim, lithe look.” While Paul is saying this, George begins composing a bass guitar melody line on his Rosewood Telecaster. They made 21 run-throughs of the song on this day, the first try prompting John to sing “Desmond had a barrow…” from “Ob-La-Di, Ob-La-Da,” another attempt being vocalized as “You and me, PTA, Harp Bazaar,” undoubtedly inspired by both the recent hit “Harper Valley PTA” and the long-running American woman’s fashion magazine “Harper’s Bazaar.” Only three of their performances were officially recorded on this day, after which George responds, “It sounds lovely, that, now, after all the anguish we went through with it…Put it on the b-side (of ‘Get Back’).” John replies, “Release it in Italy only…Let’s just make a different single for every country.” Interestingly, headphones were not used for these recordings, PA speakers being utilized for them to hear themselves, this resulting in occasional feedback.
Their first recording on this day was released on the 1996 compilation album “Anthology 3,” which features the opening mumblings about John playing an introductory three-note figure on guitar at designated places in the song: John: “OK, what is there…you’ll hear it, yeah.” Paul: “Just the first occasion you get.” John: “I did with my thumb.” Just before the third verse is sung, Paul exclaims to John, “Take it Phil,” in reference to the Everly Brothers-like arrangement they had chosen for the song. The second complete version of the song, which is included in various Anniversary editions of the “Let It Be” album, features John occasionally singing with an American twang in his voice. “I was Phil Dylan in that one,” he joked afterward. The final complete version of “Two Of Us” recorded on this day, which closes with Paul’s statement “and so we leave the little town of London, England” in reference to him and Linda’s long drives to “get lost,” was chosen by engineer Glyn Johns for inclusion on his first attempt at putting together a “Get Back” album.
From beatlesebooks.com
From beatlesebooks.com:
While rehearsing their newly decided acoustic guitar arrangement of Paul’s song “Two Of Us,” John three times decided to break the tedium by leading the group through a favorite of his from The Quarrymen days, the skiffle song “Maggie May.” With both John and Paul on acoustic guitars, George on his newly-acquired Rosewood Fender Telecaster and Ringo on drums, this song was a natural to break the tension, John having played the song on acoustic guitar using banjo chords back in the skiffle days.
The first ad-lib rendition lasted nearly a minute long, two choruses and one verse being included regardless of them not remembering the lyrics to the verse after “Two pound ten a week, that was my pay.” After flubbing through the remainder of the bridge, they repeated the chorus a second time, Paul then exclaiming “take it, Maggie!” before he segues the song into “Fancy My Chances With You,” an early Lennon / McCartney composition that was never developed into a Beatles song. An edited version of this impromptu performance, excluding the bridge of “Maggie Mae,” was featured in the “Fly On The Wall” bonus disc that was included with the “Let It Be…Naked” album of 2003 as well as on various 2021 Anniversary editions of the “Let It Be” album.
After a second version of “Maggie Mae” was attempted that lasted just over ten seconds between later takes of “Two Of Us,” it surfaced once again a little later. With Glyn Johns rolling the tapes with the intention of capturing an acceptable performance of “Two Of Us,” John started off “Maggie Mae” once again, this slightly slower version allowing the song to breathe a little more than the Vipers Skiffle Group version that it was based on. Wisely, the song fell apart precisely at the point where John forgot the words to the song, this rendition lasting 39 seconds. True to its Liverpudlian origin, John and Paul sang the song in an appropriately strong ‘scouse’ accent. Since this was captured on eight-track tape, it was easily remembered by Lennon as an interesting highlight to the fun had during this January project.
From beatlesebooks.com
From beatlesebooks.com:
The Beatles entered their basement studio at Apple Headquarters, 3 Savile Row, London, on January 24th, 1969 to continue extensive rehearsals and recording for the “Get Back / Let It Be” project. The primary focus on this day turned out to be the two songs “Get Back” and “Two Of Us,” but the group did concentrate on other compositions as well as finding time to blow off some steam with cover songs and “jamming.” It was in this environment that “Dig It” came into being for the first time.
After extensive work on the two songs mentioned above, the group started running through a long list of selections by other artists, such as “Maggie Mae,” “Diggin’ My Potatoes” and other Lonnie Donegan songs. This moved into songs by Guy Mitchell, such as “Singing The Blues,” John playing a Hofner Hawaiian Standard lap-steel guitar with a slide as he eventually played on George’s “For You Blue,” this being the first day that the instrument was used by The Beatles. While still sitting in front of this instrument, John progressed into an ad-lib jam playing similarly as he had just done on “Singing The Blues.” Lyrically, possibly inspired by “Diggin’ My Potatoes” and/or the “Can you dig it?” catch phrase of the time, Lennon repeatedly sang variations of the phrase. Paul joined in on vocals and exchanged lines such as, “I can dig it,” “everybody dig it” and so on.
After two brief experiments of this sort, John developed this idea a little further into a 12-bar blues progression using the above mentioned lap-steel guitar, the result being a four minute jam with all four Beatles playing that continued with the “can you dig it” lyrical theme. After Lennon claims that you can “dig it every morning” and “dig it every evening,” he demands “I want some insurance, I need a guarantee.” Paul continues to interject his “dig it” lines but then comically imitates a remote location DJ, announcing “Coming to you from the heart of Chicago’s blues land, Blind Lame Lennon!”, reprising a similar interjection from their as-yet unreleased 1967 recording “You Know My Name (Look Up The Number).” With John’s slide guitar getting a little wild towards the end of the song, Paul sings, “I think you’re out of tune, boy.” Clearly, The Beatles were enjoying themselves during this session.
After Billy Preston arrived a little later that day, they decided to run through this “Dig It” experiment one more time with the keyboardist, this rendition lasting nearly five minutes. At its conclusion, John stated in a high voice, “That was ‘Can You Dig It’ by Georgie Wood. And now we’d like to do ‘Hark, The Angels Come,” and then performed a brief falsetto vocalization of the song he just introduced. This statement was remembered fondly and later edited into both the film and the soundtrack album, while a two minute edit of this performance appeared in some editions of the 2021 Anniversary “Let It Be” album.
From beatlesebooks.com
From beatlesebooks.com:
On the following day at Apple Studios, January 24th, 1969, The Beatles ran through “Get Back” a total of 21 times, some of which were performed before Billy Preston’s mid-afternoon arrival. Thereafter, they ran through a rendition where John missed his cue to begin his first guitar solo, which prompted Paul to exclaim, “Yeah…or should I say ‘No.’” Another version started off at a very rapid pace and developed into a medley with “Little Demon” by Screamin’ Jay Hawkins and three Chuck Berry songs, namely “Maybelene,” “You Can’t Catch Me” and “Brown Eyed Handsome Man.”
One new development in the arrangement on this day was the inclusion of a coda after the song’s conclusion, this being experiemnted with reprises of different lengths. In fact, some of the renditions rehearsed on this day show them going into back-to-back versions of the song with many spirited vocal improvisations from Paul. The final version of the day has Paul exclaiming, “Go Home!…It’s Past Seven!…Go Home!…I’ve Got An Appointment!…Get A Job!…Go Home, Yank!”
From beatlesebooks.com
During the session, John Lennon discussed the idea of accompanying the future album with a book of photographs. When “Let It Be” was released in 1970, this concept came to fruition as a special limited edition that included a 164-page book. The book featured a collection of images and dialogue from the sessions, offering fans an intimate look behind the scenes.
John Lennon: Did you hear about the book idea?
Paul McCartney: Yeah.
John Lennon: They’re great, man. Really great. It’ll be a book of the film. They can have it out almost simultaneously. The book of the film, the book of the… All that. The package is great.
Paul McCartney: It’s good.
John Lennon: They’ll have slides, you know. And I’ll talk to John Kosh on Monday. ‘Cause I think he’d be a nice guy to design it.
From Peter Jackson’s film “The Beatles: Get Back“, 2021
Another topic of discussion during the session was Billy Preston’s contract for his participation in the recordings. John Lennon even suggested inviting Billy to join the band permanently, effectively becoming the “fifth Beatle.” However, Paul McCartney was not enthusiastic about the idea, responding half-jokingly, “It’s just bad enough with four.”
John Lennon: Did you tell Paul we’ve got Billy a contract?
George Harrison: No, not yet.
John Lennon: We’ve got him off Capitol. Just like that. And George will produce him.
Paul McCartney: I was just talking to him about that. I said, “What did you do after Hamburg and that?” He said, “Well, I saw you guys go, sort of, ‘voomph’ to the moon”. And he sort of had a couple groups together. But he’s never, sort of, done his thing.
George Harrison: The main thing, Billy just really is so knocked out, so thrilled doing it. And also he sees it’s his great opportunity.
Paul McCartney: Then he puts his name and The Beatles. Like, it’s Billy Preston!
George Harrison: I didn’t think about it. We’ll have to decide about paying him. ‘Cause, if we were having Nicky Hopkins playing, we’d have to pay him session musician rates. Which will be…
John Lennon: This is, like, to be in the film and that.
Paul McCartney: Yeah, we’ll just say to Ron, “Look, will you talk to Billy?”
John Lennon: On the film it happened so great. I mean, I’d just like him in our band, actually. I’d like a fifth Beatle. At Twickenham, suddenly, there was three, now there’s four of us, then there’s five!
George Harrison: We can do that, as well. If I asked Dylan to join The Beatles, and he would, as well, you know, and we get ’em all in here!
Paul McCartney: Yeah, but they don’t need to join The Beatles.
John Lennon: We’d call it The Beatles & Co. That’ll be our band.
George Harrison: I mean, it’s Sergeant Pepper’s Lonely Hearts Club Band, innit?
John Lennon: We could get ’em all.
Paul McCartney: I just don’t, because it’s just bad enough with four.
From Peter Jackson’s film “The Beatles: Get Back“, 2021
The performances are sequentially numbered using the nomenclature from the book "Drugs, Divorce and a Slipping Image" by Doug Sulpy. DDSI 2.01 is, for example, the first performance from January 2nd, while DDSI 31.65 is the sixty-fifth performance from January 31st. This numbering is at times different from the DDSI numbers used on the bootleg collection "A/B Road Complete Get Back Sessions", likely because "Drugs, Divorce and a Slipping Image" was updated since the release of this collection.
Get Back
Recording • DDSI.24.01 • 2:49
Performed by : John Lennon • George Harrison
Get Back
Recording • DDSI.24.02 • 9:02
Performed by : John Lennon • George Harrison
Get Back
Recording • DDSI.24.03 • 0:48
Performed by : John Lennon
Get Back
Recording • DDSI.24.04 • 0:24
Performed by : John Lennon
(I Can't Get No) Satisfaction
Recording • DDSI.24.05 • 1:21 • John Lennon only
Get Back
Recording • DDSI.24.06 • 2:29
Performed by : Ringo Starr • John Lennon • George Harrison
What'd I Say
Recording • DDSI.24.07 • 3:04 • John Lennon and George Harrison only
Recording • DDSI.24.08 • 3:23
Improvisation
Recording • DDSI.24.09 • 4:07
Improvisation
Recording • DDSI.24.10 • 0:04
Recording • DDSI.24.11 • 0:54
Improvisation
Recording • DDSI.24.12 • 0:37
Don't Let Me Down
Recording • DDSI.24.13 • 2:10 • John Lennon and George Harrison only
Recording • DDSI.24.14 • 0:59
Performed by : Paul McCartney
Recording • DDSI.24.15 • 3:02
Recording • DDSI.24.16 • 3:01
Written by Buzz Cason, Tony Moon
Recording • DDSI.24.17 • 1:17
Performed by : Paul McCartney • John Lennon
Written by Don Everly
Recording • DDSI.24.18 • 1:56 • Medley with "Soldier Of Love","Where Have You Been (All My Life)"
Performed by : Paul McCartney
Written by Buzz Cason, Tony Moon
Recording • DDSI.24.18 • Medley with "Cathy's Clown","Where Have You Been (All My Life)"
Performed by : Paul McCartney • John Lennon • George Harrison
Where Have You Been
Recording • DDSI.24.18 • Medley with "Cathy's Clown","Soldier Of Love"
Performed by : John Lennon
Written by Luther Dixon, Shirley Owens
Recording • DDSI.24.19 • 0:08
What'd I Say-Love Is A Swingin Thing
Recording • DDSI.24.20 • 0:41 • George played "What'd I Say" while Paul and John continued to play "Love Is A Swingin Thing"
Written by Don Christy, Roddy Jackson
Recording • DDSI.24.21 • 0:37
Performed by : Paul McCartney
Written by John Lennon
Recording • DDSI.24.22 • 2:53 • With lyrics "On The Road To Marrakesh"
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Recording • DDSI.24.23 • 7:26
Recording • DDSI.24.24 • 3:43
Written by Brian Wilson, Mike Love
Recording • DDSI.24.25 • 1:22
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
Recording • DDSI.24.26 • 2:53
Recording • DDSI.24.27a • 16:38
Recording • DDSI.24.27b • 2:50
Recording • DDSI.24.28 • 5:39
Recording • DDSI.24.29 • 3:17
Recording • DDSI.24.30 • 4:40
She Came In Through The Bathroom Window
Recording • DDSI.24.31 • 1:17
Written by Paul McCartney
Recording • DDSI.24.32 • 4:44
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Written by Paul McCartney
Recording • DDSI.24.33 • 7:24
Written by Paul McCartney
Recording • DDSI.24.34 • 0:39
Written by Paul McCartney
Recording • DDSI.24.35 • 0:18
Written by Paul McCartney
Recording • DDSI.24.36 • 1:40
"Balls To Your Partner"
Recording • DDSI.24.37 • 0:13
Performed by : Paul McCartney
Ach Du Lieber Augustin
Recording • DDSI.24.38 • 0:09
Performed by : Paul McCartney
Written by Paul McCartney
Recording • DDSI.24.39 • 0:45
Recording • DDSI.24.40 • 3:48
Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison
Recording • DDSI.24.41 • 0:56
Performed by : Paul McCartney • John Lennon
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Recording • DDSI.24.42 • 1:45
Performed by : Paul McCartney • John Lennon
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Recording • DDSI.24.43 • 1:19
Recording • DDSI.24.44 • 2:09
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Improvisation
Recording • DDSI.24.45 • 1:25
Recording • DDSI.24.46 • 3:24
Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison
Recording • DDSI.24.47 • 0:25
Recording • DDSI.24.48 • 4:36
Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison
Recording • DDSI.24.49 • 1:33
AlbumOfficially released on Let It Be (Limited Edition)
Recording • DDSI.24.50 • 3:36
Window, Window
Recording • DDSI.24.51 • 2:12
Performed by : George Harrison
Window, Window
Recording • DDSI.24.52 • 0:57
Performed by : George Harrison
Recording • DDSI.24.53 • 1:09
Recording • DDSI.24.54 • 2:42
Recording • DDSI.24.55 • 0:50
Recording • DDSI.24.56 • 1:31
Recording • DDSI.24.57 • 1:25
Recording • DDSI.24.58 • 2:29
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Written by Paul McCartney
Recording • DDSI.24.59 • 4:18
Written by Paul McCartney
Recording • DDSI.24.60 • 1:50
Performed by : Paul McCartney
Written by Paul McCartney
Recording • DDSI.24.61 • 5:31
Performed by : Paul McCartney
Pillow For Your Head
Recording • DDSI.24.62 • 0:47
Written by Paul McCartney
Recording • DDSI.24.63 • 1:35
Performed by : Paul McCartney
Written by Paul McCartney
Recording • DDSI.24.64 • 0:08
Performed by : Paul McCartney
Recording • DDSI.24.65 • 0:59
Recording • DDSI.24.66 • 3:46
Recording • DDSI.24.67 • 0:57
Recording • DDSI.24.68 • 3:35 • Paul McCartney plays a few bars from the coda of "Hello Goodbye" at the end of Two Of Us
Recording • DDSI.24.69 • 4:07
Recording • DDSI.24.70 • 3:35
Written by Lonnie Donegan
Recording • DDSI.24.71 • 0:50
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
Written by Traditional
Recording • DDSI.24.72 • 0:11
Written by Traditional
Recording • DDSI.24.73 • 1:14
Improvisation
Recording • DDSI.24.74 • 0:15
Unknown
Recording • DDSI.24.75 • 1:14
Recording • DDSI.24.76 • 2:08
Written by Eddie Edwards, Nick LaRocca, Henry Ragas, Tony Sbarbaro, Larry Shields
Recording • DDSI.24.77 • 2:11
Performed by : Paul McCartney
Written by Traditional
Recording • DDSI.24.78 • 0:58
Performed by : Paul McCartney
Written by Traditional
Recording • DDSI.24.79 • 0:13
Performed by : Paul McCartney
Written by Melvin Endsley
Recording • DDSI.24.80 • 2:40
Performed by : Paul McCartney
Written by Melvin Endsley
Recording • DDSI.24.81 • 0:15
Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison
Recording • DDSI.24.82 • 3:12
Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison
Recording • DDSI.24.83 • 0:46
Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison
Recording • DDSI.24.84 • 4:33
Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison
Recording • DDSI.24.85 • 6:15 • A snippet of John’s speech from this track — “That was ‘Can You Dig It’ by Georgie Wood, and now we’d like to do ‘Hark The Angels Come’” — would eventually appear on the “Let It Be” album.
AlbumOfficially released on Let It Be (Limited Edition)
Recording • DDSI.24.86 • 2:10
Written by Paul McCartney
Recording • DDSI.24.87 • 1:42
Performed by : Paul McCartney
Recording • DDSI.24.88 • 0:28
Recording • DDSI.24.89 • 0:40
Recording • DDSI.24.90 • 3:36
Written by Screamin' Jay Hawkins, Irving Nahan, Chuck Berry
Recording • DDSI.24.91 • 2:39
Performed by : Paul McCartney
Written by Chuck Berry
Recording • DDSI.24.91 • 2:39
Performed by : Paul McCartney
You Can't Catch Me
Recording • DDSI.24.91 • 2:39
Performed by : John Lennon
Brown-Eyed Handsome Man
Recording • DDSI.24.91 • 2:39
Performed by : John Lennon
Written by Larry Williams
Recording • DDSI.24.92 • 1:32
Performed by : Paul McCartney • John Lennon • George Harrison
Recording • DDSI.24.93 • 0:15
Recording • DDSI.24.94 • 4:55
Green Onions
Recording • DDSI.24.95 • 0:46
Performed by : Billy Preston
Recording • DDSI.24.96 • 0:52
Recording • DDSI.24.97 • 4:32
Written by Larry Williams
Recording • DDSI.24.98 • 4:27
Sweet Little Sixteen
Recording • DDSI.24.99 • 1:48
Performed by : Ringo Starr • John Lennon • George Harrison • Billy Preston
Around and Around
Recording • DDSI.24.100 • 1:08
Performed by : Ringo Starr • John Lennon • Billy Preston
Written by Chuck Berry
Recording • DDSI.24.101a • 2:02
Paul McCartney : Backing vocalsPerformed by : Ringo Starr • John Lennon • Billy Preston George Harrison : Backing vocals
School Days (Ring Ring Goes The Bell)
Written by Chuck Berry
Recording • DDSI.24.101b • 2:49
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Written by Jerry Leiber, Mike Stoller, Ben E. King
Recording • DDSI.24.102 • 2:40
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison • Billy Preston
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Where Have You Been (All My Life)
Written by Barry Mann, Cynthia Weil
Recording • DDSI.24.102 • 2:40
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison • Billy Preston
Lady Madonna
Recording • DDSI.24.103 • 0:09
John Lennon : Vocals
Recording • DDSI.24.104 • 0:13 • Paul McCartney imitates Fat Domino (who covered "Lovely Rita")
Paul McCartney : Vocals
Recording • DDSI.24.105 • 6:51
Lonely Sea
Recording • DDSI.24.106 • 1:41
Performed by : John Lennon
Unknown
Recording • DDSI.24.107 • 3:45
Performed by : John Lennon
Ramrod
Recording • DDSI.24.108 • 2:03
Performed by : John Lennon
Drugs, Divorce and a Slipping Image - The Complete, Unauthorized Story of The Beatles' 'Get Back' Sessions
The definitive guide to the Get Back sessions, released in 1994 and updated in 2007. In the author's own words:
New, completely revised edition! This new volume isn t just a compilation of material from the 1994 book Drugs, Divorce and a Slipping Image (also later published as 'Get Back') and 'The 910's Guide To The Beatles Outtakes Part Two: The Complete Get Back Sessions' (2001). I've re-listened to the entire canon of available Get Back session tapes, come up with a bunch of new conclusions (and even a handful of new identifications!), and pretty much re-written half the book from scratch. In addition, great effort has been made to improve readability of the book. Songs have now been put into groups (generally by Nagra reel, or series of them), rather than describing each performance separately, as was done in the original. In every way, this is the book we wished we could have written in 1994.
As the paperback version is out of print, you can buy a PDF version on the author's website
If we modestly consider the Paul McCartney Project to be the premier online resource for all things Paul McCartney, it is undeniable that The Beatles Bible stands as the definitive online site dedicated to the Beatles. While there is some overlap in content between the two sites, they differ significantly in their approach.
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