Wednesday, January 29, 1969
Get Back sessions • Day 20
For The Beatles
Last updated on February 16, 2025
Wednesday, January 29, 1969
For The Beatles
Last updated on February 16, 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
Article Jan 28, 1969 • Allen Klein meets with The Beatles
Session Jan 28, 1969 • Get Back sessions • Day 19
Session Jan 29, 1969 • Get Back sessions • Day 20
Concert Jan 30, 1969 • The rooftop concert
AlbumSome of the songs worked on during this session were first released on the "Anthology 3" Official album
On this day, The Beatles continued their “Get Back” sessions at Apple Studios in London, marking the 9th day at their new studio and the 20th day overall for the project.
On January 25, they had discussed performing on the rooftop of the Apple building, envisioning it as the climax of their upcoming film, directed by Michael Lindsay-Hogg. Originally planned for this day, the rooftop concert was postponed due to bad weather and rescheduled for the following day, January 30.
At the start of the session, Paul McCartney unexpectedly expressed doubts about performing on the roof. He argued that the original aim of the sessions was to play in front of an audience, and performing on the rooftop without one felt no different from playing in the studio. John Lennon and Ringo Starr, however, were enthusiastic, while George Harrison was willing to go along with it. The conversation soon expanded beyond the rooftop performance to include broader discussions about the future of the project — and the band itself.
Ultimately, The Beatles decided to spend the day refining their existing material, making this session something of a recap of the entire month’s rehearsals as they ran through nearly their entire repertoire of new songs.
Each of the five songs which would be played for the rooftop performance — “Get Back,” “Don’t Let Me Down,” “I’ve Got a Feeling,” “One After 909,” and “Dig a Pony” — was rehearsed during this session. They also played Two of Us, The Long and Winding Road, and Let It Be. Additionally, George Harrison led the band through his compositions, including For You Blue, Something, All Things Must Pass, Let It Down, and Old Brown Shoe, though none of these performances were polished enough for release.
The band also spent time working on I Want You (She’s So Heavy), which they had first jammed with Billy Preston the previous day. They continued developing its structure and exploring its potential, laying the groundwork for its later inclusion on Abbey Road. John also led another improvised take of Dig It, incorporating lyrical references to various songs played throughout the sessions.
The latter part of the session was more relaxed, with the band indulging in a series of cover songs. Among these was Buddy Holly’s Mailman, Bring Me No More Blues, later edited for release on Anthology 3, and Bésame Mucho, a song they had previously performed at their 1962 EMI audition and which appeared in the Let It Be film.
The day concluded with another run-through of Teddy Boy and Two of Us.
By the end of the session, spirits were notably higher than at the start. The idea of performing on the rooftop remained on the table, and while Paul was still unconvinced, he no longer outright opposed it.
Each of the five key songs played on the rooftop – ‘Get Back’, ‘Don’t Let Me Down’, ‘I’ve Got A Feeling’, ‘One After 909’ and ‘Dig A Pony’ – was performed during this session. They also did run-throughs of as well as Two of Us, The Long and Winding Road, and Let It Be. They also performed some George Harrison’s tracks – For You Blue, Something, All Things Must Pass, Let It Down, and Old Brown Shoe – though none of these performances were polished enough for release.
Additionally, the band spent time working on I Want You (She’s So Heavy), a track that would later appear on Abbey Road. Having first jammed the song with Billy Preston on the previous day, they continued exploring its potential. Another return was made to Dig It, where John improvised lyrics referencing various songs played throughout the sessions.
From 29 January 1969: Get Back/Let It Be sessions: day 18 (beatlesbible.com):
Each of the five key songs played on the rooftop – ‘Get Back’, ‘Don’t Let Me Down’, ‘I’ve Got A Feeling’, ‘One After 909’ and ‘Dig A Pony’ – was performed once during this session.
Instead, they spent much of the day working on other songs. These included versions of ‘Two Of Us’, ‘The Long And Winding Road’ and ‘Let It Be’, plus others which didn’t make it to the Let It Be album.
The Beatles tackled a number of George Harrison’s songs, perhaps hoping that one would be suitable for inclusion in the film. The album version of ‘For You Blue’ had been taped on 25 January, but three more takes were performed on this day. Also played were ‘Something’, ‘All Things Must Pass’, ‘Let It Down’, and ‘Old Brown Shoe’, although none sounded like polished versions ready for release.
Also needing work was ‘I Want You (She’s So Heavy)’, destined for inclusion on Abbey Road. The Beatles and Billy Preston had first jammed the song on the previous day, and evidently thought it worth continuing with.
The final part of the session was mostly devoted to cover versions. Among them was Buddy Holly’s ‘Mailman, Bring Me No More Blues’, which was heavily edited and included on Anthology 3. The Beatles also played ‘Besame Mucho’, as seen in the Let It Be film.
The day ended, however, with a return to ‘Teddy Boy’ and ‘Two Of Us’. Paul McCartney aside, the group’s enthusiasm for playing the songs was noticeably waning by this stage.
John Lennon and Ringo Starr were the first to arrive at the studio, where they conversed with director Michael Lindsay-Hogg and engineer Glyn Johns. Their discussion covered various topics, including the Beatles’ first meeting with American businessman Allen Klein the night before:
Ringo Starr: Morning, Michael.
Michael Lindsay-Hogg: Morning, R.S. How many numbers do you think you’ll have by tomorrow at 1:00 before you go up on the roof?
Ringo Starr: About six. The show really going to be tomorrow?
Michael Lindsay-Hogg: Yes, it’s gonna be great. The weather report, we hear, is good.
Ringo Starr: We should finish early tonight. Just go through the numbers over and over again and what we’re going to do tomorrow. There’s only five or six of them.
John Lennon: And sleep here.
Ringo Starr: Did you go on longer with Allen?
John Lennon: Yeah, we were talking ’till about twelve of half twelve. Went through everything, you know.
Glyn Johns: Have you met Allen before?
John Lennon: I met him the other day over here, and I met him at “The Circus.” He just sort of said “Hello”, or something.
Glyn Johns: Strange guy, isn’t he?
John Lennon: He’s fantastic though.
Glyn Johns: He really is very strange. Very, very clever. But strange, man. That’s what it’s about, isn’t it?
John Lennon: Aren’t we all? We’re all hustlers.
Ringo Starr: And a conman who’s on our side for a change. All those other conmen are on the other side.
Glyn Johns: He’s extraordinary, his capacity… Well, I can’t really explain it. I don’t know if he speaks to you the same way he does other people. Perhaps not, because you’re who you are. But, he’ll ask you a question, and you’re halfway through answering it and, if he doesn’t like the answer or if it’s not really what he wanted to hear, he’ll change the subject right in the middle of a sentence. That bugs me a bit, actually.
From Peter Jackson’s film “The Beatles: Get Back“, 2021
Paul McCartney arrived at the session and, after a brief discussion, expressed doubts about performing on the rooftop the following day, saying he no longer believed the idea would work. From the outset of the project, Paul had envisioned a live performance as the culmination of their efforts. The band had explored various potential venues, ranging from serious to far-fetched, and on January 22, they had considered playing at Primrose Hill, a scenic location with panoramic views of London. However, that idea was abandoned two days later for reasons unknown. With no clear alternative in place, Paul grew frustrated.
On January 25, the rooftop performance had emerged as a viable option, and Paul initially supported the idea. His sudden change of heart at this stage was unexpected, as he now argued that playing on the roof was no different from playing in the studio, given the absence of a real audience.
The discussion ended with John and Ringo reaffirming their enthusiasm for the rooftop concert, George —who had arrived in the meantime — agreeing reluctantly, and Paul remaining noncommittal.
Michael Lindsay-Hogg: Tomorrow, with the nine cameras, if we do tomorrow, there is a kind of, “Something will happen.”
Paul McCartney: No, it’s the best bit of us, always has been and always will be, is when we’ve got, when we’re backs against the wall and we’ve been rehearsing, rehearsing, rehearsing. And he knows it’s a take on the dub. And he does it great.
Michael Lindsay-Hogg: No, the organization has gotta come from either you or from you doing an audience.
Paul McCartney: But that’s not true, you see? There is a difference. Like when we came here from Twickenham. It’s a whole other thing, you know? If we went into a TV studio now, in one of those big, bare TV studios and you sat us down, just with our songs and amps, we’d do ’em and we’d do ’em great.
Michael Lindsay-Hogg: I think what we need is an audience of some sort. Either a surprise audience…
Ringo Starr: I’ve farted. I though I’d just let you know.
George Martin: Thank you.
Ringo Starr: I was gonna sit here silent and look at you. Then I thought, no, I’ll tell you about it.
Tony Richmond: Paul, what’s the problem?
Michael Lindsay-Hogg: If we’ve got like everything set for tomorrow, we just go ahead and do it and…
Paul McCartney: The roof is like too far out. If we do an open air thing… That’s… that’s really all. I can say about this whole scene. We should learn all the numbers. All of them. All the ones that are gonna be on the album. I know it literally takes a bit more time…
George Martin: That’s why I wanna go through with you today, the ones–
Paul McCartney: … But we haven’t got the end thing. I’ve got a feeling that we’re gonna just, sort of, go off… ♪ Got a feeling ♪ … We’re just gonna go off like we did after the end of the last album. And just sort of think, “Oh, not another fucking album.” You know? Because this is… This is what this is, you know.
John Lennon: I can’t wait to work it, you know?
Paul McCartney: Yeah. But it’s like we got much better takes after we moved from Twickenham to here.
John Lennon: Oh, yeah, but I mean here I like. It’s like home.
Paul McCartney: But, like, we still haven’t got any aim for it, except an album again. Our only aim ever is an album, you know? Which is like a very nonvisual thing.
John Lennon: But albums is what we’re doing at the moment.
Paul McCartney: I mean, you gotta be sneaky with The Beatles, or else we’ll just go on forever in a circle, you know? Whenever we talk about it, we have certain rules. Like George saying, “What do you wanna do?” And he says, “No films.” You know, but it’s wrong, that. It’s very wrong, that. Because you don’t know. He says– What he means is, no “Help!” or “Hard Day’s Night” ‘Cause this is a film. And he now he doesn’t mind this. It’s us going silly again.
John Lennon: No, it isn’t. I think, I think we might do it.
Paul McCartney: See, it’s like when we came back from Hamburg, and did Leicester, De Montfort Hall and we had the worst first night thing, and we’re all nervous, and it was terrible. Then we played another the next night. We just went right into it. We’re good at that once we get over the nervousness. But it’s like there’s the hurdle of that nervousness is there now.
John Lennon: Tomorrow is the day we do it. Today is we’ve gotta get the six, or however many numbers ready so that we can do…
Paul McCartney: Yes, but for who is tomorrow the day? Not for me. You know, it’s like there’s this thing where there is a show to be had out of what we’ve got here, which is just so incredible. That’s unbelievable. And you don’t have to go on the roof. You don’t have to go anywhere. You really only have to sing ’em.
John Lennon: Well, even if we stay here…
George Martin: This business of a deadline though is up to you really, because we’ve given you deadlines already.
Paul McCartney: Yeah, well, that’s why I’m talking to John, not you. The easiest way to finish the show is just to sit here for another few days and start rehearsing them one after the other and do three numbers at a time. And like George said, get a program of where we’re gonna do ’em, what’s gonna follow what. And just start playing them right through. And then just knock it off.
George Martin: Like you used to, and have all your titles on your guitar, you know.
John Lennon: Yes, yes. I mean, I thought that’s what we’re doing.
George Martin: It’s just that you say you’re not ready.
John Lennon: We’re not ready, yeah, sure. We’re not ready to do 14.
Paul McCartney: See, the only trouble is, we really have to want to do a show at the end of it. That’s the thing. That’s the trouble. None of us have an aim. We don’t have a thing at the end of it that we wanna do. We could have had a De Montfort Hall show…
John Lennon: This would have been De Montfort Hall if we’d have done the dress rehearsal here.
Paul McCartney: And get over the nervousness of an audience, and stop, sort of, playing to show off to them and just play it.
Michael Lindsay-Hogg: That was the original idea for the 19th and 20th.
Paul McCartney: Yeah. Yeah. The voices are going in my head, which way we’re gonna… which way we are…
John Lennon: What’s your, sort of, practical answer to the problem now, regarding tomorrow? I think we’d be daft just not to do it… Well, try and do something tomorrow…
George Harrison: Sorry I’m late.
John Lennon: … even if it’s a grand dress rehearsal, and see how it went. And then, you know… I mean, if we had another six weeks…
George Harrison: Six weeks…
John Lennon: I mean, you know, if we had another month to play with, to really, I think, get 14 straight off, it’d be nice, you know, to still do the seven we’ve got.
George Harrison: I just don’t… You know, I think it’s gonna take months doing it like that.
Paul McCartney: So how do you think we should do it then?
George Harrison: You can film some while we’re recording them at the same time, okay, but…
Paul McCartney: Yeah, see, that’s what I wanna get in my head. Is it a documentary of us doing another album? Which it is.
John Lennon: Except, we’re doing them one after the other.
Paul McCartney: No, but, I mean, we’re not doing a payoff. We’re not doing the 11 numbers straight off for an album. We’re gonna have to, sort off, join ’em.
John Lennon: I agree with that. I think it’s disappointing but, all right, we’ve only got to seven. Let’s do seven. ‘Cause otherwise we haven’t enough time to do 14, ’cause Ringo’s gotta go, you know? But we might be able to get another seven off by the end of two weeks. I mean, we will, but…
Paul McCartney: The only trouble is that the only people, like, who need to agree on what it is we’re doing is the four of us, and we’re the only ones who haven’t even talked about it. Because we had the meeting before all this and said, “TV show.” That’s what I’ve gotta get in my head… It’s an album.
George Harrison: All that footage of film which could make about half a dozen films.
Paul McCartney: Yeah. It’s a film of us making an album.
Glyn Johns: Yeah, but that’s visual.
Paul McCartney: Yes. Yeah. Yeah. I’ve got no complaints about it. But I just gotta get that in my head.
Glyn Johns: When you’ve done this, Paul, there’s no reason why you shouldn’t go and do a TV show. Re-think a TV show and do it with these numbers later.
Paul McCartney: This TV show was supposed to be a TV show of the last album.
Glyn Johns: The last album?
Paul McCartney: Yes. But when we came to do it we said, “We’ll write new songs.” ‘Cause that’s it, you see. We always… We never… We always get ahead of ourselves.
Glyn Johns: The thing is that, like, yesterday, which wasn’t a particularly good day, and the day before, which wasn’t a particularly good day either… The reason is obviously the fact that you’re playing the same three or four songs for a week or whatever, you know, and you’re flogging them to death. Obviously you’re getting bored with them, you know, like, it can’t be any other way. That was why George and I were trying to get you yesterday to do three in one go, straight through, so you had to think, “Oh, yeah, what’s the key? Why isn’t it right?”
George Harrison: How many have we already recorded good enough?
John Lennon: None.
George Harrison: None? Well, what about all those times we’ve done “Get Back”?
John Lennon: Oh, well, I mean, one of them’s all right, isn’t it? There’s that one of yours we did. And “Get Back.”
George Martin: But they’re at a stage where it’s dress rehearsal stage… Where if you did a performance, it probably would be it.
Glyn Johns: Yesterday you got terribly close to it on a couple of the numbers you were trying to do. One more take and you’ve had it.
John Lennon: It’s just physical tiredness on my part. You know, it took great strain to get through “Don’t Let Me Down” and the other one. Just physically singing at that pace, I’m being so tired.
George Harrison: Well, that’s the thing, if you’re planning on working up till Ringo does the film, doing it like this, you know, we’re just gonna drop and, I think, not gonna have anything on the tape. At least we could’ve recorded all those.
John Lennon: Was the result of not having the weekend. If we hadn’t had the weekend, we wouldn’t have been able to even attempt yesterday. That’s the paradox.
George Harrison: But if we had just been recording them, you know…
Michael Lindsay-Hogg: And at the moment the documentary is really like “No Exit”. It’s just going around and around and around with no payoff. There’s no story. There’s a lot of good stuff that we shot in the documentary, but there’s no story yet.
Paul McCartney: Now I know how to get this TV show together in about a week. But I can’t do it with you. I can’t produce you.
John Lennon: Neither can anybody else. ‘Cause we don’t allow it, you know. We don’t allow people to come and say, “You do that.”
Paul McCartney: That’s why I’m creating artificial frameworks for us to do it…
Michael Lindsay-Hogg: We’ve got a lot of good stuff, like with some of the days at Twickenham. We’ve got great stuff, counterpoint thing. But at the moment haven’t got an ending.
Paul McCartney: See, ’cause they’ve got the film, you know. I just wanna get out now. We’ve done the film. We’ve done the numbers enough, you know? And we begin together…
John Lennon: But, I mean, if George wants to think while we’re doing it that he’s making a record, and you wanna think we’re rehearsing, it makes no odds, you know.
Paul McCartney: So we’ve gotta decide that we mustn’t then go on “Get Back” for three hours.
John Lennon: Oh no, alright. Well, you stop it then.
Paul McCartney: It’s a united effort for us. Or else I really feel like I’m trying to produce The Beatles, and I know it’s hopeless. I just can’t do it, you know. And no one can do it ’cause the four individuals are too strong individually.
George Harrison: So you want us to record these songs?
Paul McCartney: Yeah. Get it together now instead of talking about the show. Get it, so that we’ve got 14 songs. We’re talking about this abstract thing we hope to get, and by talking about, we’re not getting it.
John Lennon: Okay, let’s do it. But, man, physically, yesterday we tried to learn the next half. But physically we were too tired. That’s all it was. And we’re trying to do what you’re saying, and we might have done what he was saying at the same time, but we couldn’t do it ’cause we’re tired. We might have had a bit more sleep…
George Harrison: You mean you’re still expecting us to be on the chimney with a lot of people, or something like that?
Michael Lindsay-Hogg: “Expecting” is not a word we use anymore. Uh, “thinking about.” “Praying. Hoping.” Well, now, what about the roof tomorrow? Do you wanna collectively do it or not?
Paul McCartney: Let’s… Let’s decide on that, sort of, a bit later. Let’s us keep off that. We’ll do the numbers, you know? We’re the band.
George Harrison: You know, whatever, I’ll do it if we’ve got to go on the roof, but I don’t wanna go on the roof. Of course, I don’t wanna go on the roof.
Ringo Starr: I would like to go on the roof.
John Lennon: Yes, I’d like to go on the roof.
From Peter Jackson’s film “The Beatles: Get Back“, 2021
Paul McCartney took a lunch break with his brother Mike, who had stopped by the session. Meanwhile, George Harrison and John Lennon remained in the studio, where George shared that he was considering recording a solo album. He suggested that pursuing solo projects could be a way for each member to express themselves individually while still preserving The Beatles as a band.
George Harrison: John, I’ll tell you what I’d like to do. You know, I’ve got so many songs that I’ve got me, like, my quota of tunes for the next ten years or albums. I’d just like to maybe do an album of songs.
John Lennon: On your own?
George Harrison: Yeah. But, I mean, I’d like it so that if… ‘Cause it would be nice. It would be nice to mainly get them all out the way. And secondly, just to hear what all mine are like all together.
John Lennon: If we put out an LP, we’d say “It’s The Beatles together, but George is doing an album”
George Harrison: Yeah, but it’d be nice if any of us can do separate things as well. That way it also preserves this, the Beatle bit of it, more. Because then…
John Lennon: Have an outlet for every little note you want.
George Harrison: You know, ’cause all these songs of mine, I could give to people who could do ’em good. But I suddenly realized, “You know, fuck all that. I’m just gonna do me for a bit. You know?”
From Peter Jackson’s film “The Beatles: Get Back“, 2021
At the end of the session, the discussion returned to the planned rooftop performance. John and Ringo reaffirmed their enthusiasm for the idea, while Paul McCartney remained noncommittal.
Michael Lindsay-Hogg: Is this the order?
John Lennon: No, that’s not. That’s the existing cacophony. Put the ones we know in a hat. Shuffle them out to see which order we do ’em in.
Michael Lindsay-Hogg: What time are we all coming in tomorrow?
Mal Evans: We’ll all be here bright and early.
Michael Lindsay-Hogg: 11:30.
John Lennon: We’re all sleeping at George’s tonight. Get in the mood. We’re all ready for tomorrow.
Paul McCartney: So you’re doing the show on the roof tomorrow?
Ringo Starr: On the roof?
John Lennon: Albert Hall? Five o’clock?
Paul McCartney: Oh, sure, Albert Hall. Sure. Five o’clock. See you there.
John Lennon: Bring your own band.
Ringo Starr: I’ll go, you know, if someone… You’ll go as well?
John Lennon: Yeah.
Paul McCartney: I think John and, uh, Ringo are on the roof.
John Lennon: Ringo in a green bag.
Paul McCartney: In a green bag on the roof.
Yoko Ono: Is it going to be the day then?
Paul McCartney: Who knows, Yoko? Supposed to be, yeah. Yeah.
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.
Singing The Blues
Recording • DDSI.29.01 • 7:56
Performed by : Ringo Starr • John Lennon
Singing The Blues
Recording • DDSI.29.02 • 6:12
Performed by : Ringo Starr • John Lennon
Rule, Brittania
Recording • DDSI.29.03 • 3:45
Performed by : Ringo Starr • John Lennon
I Walk The Line
Recording • DDSI.29.04 • 0:54
Performed by : Ringo Starr • John Lennon
Written by Melvin Endsley
Recording • DDSI.29.05 • 3:28
Performed by : Ringo Starr • John Lennon
Written by Melvin Endsley
Recording • DDSI.29.06 • 2:42 • Paul McCartney arrives
Performed by : Paul McCartney • Ringo Starr • John Lennon
Recording • DDSI.29.07 • 4:34
Recording • DDSI.29.08 • 5:22
Recording • DDSI.29.09 • 7:18
Recording • DDSI.29.10 • 3:57
Recording • DDSI.29.11 • 5:00
She Came In Through The Bathroom Window
Recording • DDSI.29.12 • 3:51
She Came In Through The Bathroom Window
Recording • DDSI.29.13 • 2:34
She Came In Through The Bathroom Window
Recording • DDSI.29.14 • 3:09
Recording • DDSI.29.15 • 3:44
"Also"
Recording • DDSI.29.16 • 3:09
Recording • DDSI.29.17 • 4:51
Recording • DDSI.29.18 • 5:11
Recording • DDSI.29.19 • 5:10
Written by George Harrison
Recording • DDSI.29.20 • 8:24
Written by George Harrison
Recording • DDSI.29.21 • 2:41
Written by George Harrison
Recording • DDSI.29.22 • 1:14
Written by George Harrison
Recording • DDSI.29.23 • 2:22
Written by George Harrison
Recording • DDSI.29.24 • 2:30
Written by George Harrison
Recording • DDSI.29.25 • 2:26
Written by George Harrison
Recording • DDSI.29.26 • 3:32
Written by George Harrison
Recording • DDSI.29.27 • 4:54
Written by George Harrison
Recording • DDSI.29.28 • 5:47
Written by George Harrison
Recording • DDSI.29.29 • 3:34
Written by George Harrison
Recording • DDSI.29.30 • 2:53
Written by George Harrison
Recording • DDSI.29.31 • 1:44
Written by Melvin Endsley
Recording • DDSI.29.32 • 1:05
Recording • DDSI.29.33 • 5:45
Written by George Harrison
Recording • DDSI.29.34 • 3:23
Recording • DDSI.29.35 • 1:52
Written by George Harrison
Recording • DDSI.29.36 • 1:01
Recording • DDSI.29.37 • 1:10
"She Gets Heavy"
Recording • DDSI.29.38 • 0:20
Performed by : John Lennon
Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison
Recording • DDSI.29.39 • 6:59
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Written by Consuelo Velázquez
Recording • DDSI.29.40 • 2:27
Written by Jerry Leiber, Mike Stoller
Recording • DDSI.29.41 • 2:36
"Sorry Miss Molly"
Recording • DDSI.29.42 • 0:11
Performed by : Paul McCartney
I Got to Find My Baby
Recording • DDSI.29.43 • 0:50
Performed by : John Lennon
Some Other Guy
Recording • DDSI.29.44 • 0:22
Performed by : Billy Preston
Recording • DDSI.29.45 • 4:09
Written by Billy Butler, Bill Doggett, Clifford Scott, Shep Shepherd
Recording • DDSI.29.46 • 2:05
Recording • DDSI.29.47 • 3:08
Written by Chuck Berry
Recording • DDSI.29.48 • 1:15
Written by Duane Eddy, Lee Hazlewood
Recording • DDSI.29.49 • 4:30 • Medley with "Not Fade Away","Hey Little Girl" - Jan.29 - D4-12 - 29.49
Written by Buddy Holly, Norman Petty
Recording • DDSI.29.49 • 4:30 • Medley with "Cannonball","Hey Little Girl" - Jan.29 - D4-12 - 29.49
Written by Otis Blackwell, Bobby Stevenson
Recording • DDSI.29.49 • 4:30 • Medley with "Cannonball","Not Fade Away" - Jan.29 - D4-12 - 29.49
Written by Buddy Holly, Norman Petty
Recording • DDSI.29.50 • 2:33
Written by Buddy Holly, Paul McCartney, John Lennon
Recording • DDSI.29.51 • 3:24 • Medley with "Thinking Of Linking"
Written by Buddy Holly
Recording • DDSI.29.52 • 2:42
Mailman, Bring Me No More Blues
Written by Ruth Roberts, Bill Katz, Stanley Clayton
Recording • DDSI.29.53 • 2:22
Written by Paul McCartney
Recording • DDSI.29.54 • 16:59
Written by Paul McCartney
Recording • DDSI.29.55 • 0:30
Lotta Lovin'
Recording • DDSI.29.56 • 1:02
Recording • DDSI.29.57 • 1:40
Recording • DDSI.29.58 • 7:05
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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