Wednesday, January 8, 1969
The "Get Back / Let It Be" sessions • Day 5
For The Beatles
Last updated on March 26, 2025
Wednesday, January 8, 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: Twickenham Film Studios, London, UK
Session Jan 06, 1969 • The "Get Back / Let It Be" sessions • Day 3
Session Jan 07, 1969 • The "Get Back / Let It Be" sessions • Day 4
Session Jan 08, 1969 • The "Get Back / Let It Be" sessions • Day 5
Session Jan 09, 1969 • The "Get Back / Let It Be" sessions • Day 6
Session Jan 10, 1969 • The "Get Back / Let It Be" sessions • Day 7
AlbumSome of the songs worked on during this session were first released on the "Let It Be (Limited Edition)" LP
This was the fifth day of the “Get Back” sessions at Twickenham Film Studios. Despite the previous day’s tensions, the group appeared in better spirits during the morning session, focusing on rehearsing songs from previous days with noticeable enthusiasm. They delivered solid performances of “Two Of Us“, “One After 909“, “Don’t Let Me Down” and “I’ve Got A Feeling“.
To start the day, George Harrison introduced a new composition, “I Me Mine,” which he had written the previous night. The song was extensively rehearsed after lunch, marking the only day in January 1969 that the group actively worked on it, as interest in further developing it waned in the following days. Another Harrison composition, “All Things Must Pass,” was also revisited — having been extensively rehearsed on January 3 — but the rest of the band remained lukewarm towards it.
Paul McCartney led further rehearsals of “Maxwell’s Silver Hammer” and “She Came In Through the Bathroom Window,” and the first group rehearsal of “The Long and Winding Road,” guiding the band through its chord progressions and arrangements.
John Lennon, meanwhile, had yet to contribute some new songs to the sessions. He offered only the unfinished “Mean Mr. Mustard,” a song he had demoed in May 1968 but was not yet a serious contender for the project.
In addition to their original compositions, The Beatles played some cover versions and improvised jams. However, these were largely inconsequential, consisting of brief renditions played between more structured rehearsals. Among them were two early Lennon-McCartney compositions, “Too Bad About Sorrows” and “Just Fun,” each lasting only a few seconds. John’s remark, “Queen says no to pot-smoking FBI members,” recorded at the end of “Too Bad About Sorrows,” was later included on the “Let It Be” album prior to “For You Blue,” making it the only recorded audio piece from Twickenham to appear on the official release.
The session ended with a long discussion about potential locations for a live performance. Director Michael Lindsay-Hogg and Denis O’Dell continued to push for the idea of staging the concert at an outdoor amphitheater in Sabratha, Libya, while another proposal suggested performing aboard an ocean liner. John was enthusiastic about the travel plans, and Paul was open to the idea, but George strongly opposed it, considering it impractical and costly. Ringo appeared more flexible, though not entirely convinced. Ultimately, the band agreed to sleep on the decision before moving forward.
The Beatles returned to Twickenham the following day.
The Beatles had previously worked on “Two Of Us” on January 2, 3 and 6, skipping it on January 7. On this day, they ran through it only once.
It was a similar situation for “One After 909“, which had been rehearsed on January 3, 6 and 7. They played it just once on this day, primarily to confirm that the arrangement was solid, which it was.
Rehearsals for both songs would resume the following day, January 9.
“Don’t Let Me Down” and “I’ve Got A Feeling” had been rehearsed on January 2, 3, 6 and 7. On this day, they performed the two songs twice and would continue working on them on the next day, January 9.
[One of the two rehearsals of “I’ve Got A Feeling”] was exceptional enough to be featured in the resulting “Let It Be” film, at least in part. Upon watching the footage in the film, Paul is standing and George is wearing a red shirt during the January 8th footage of the song. Paul enthusiastically shouts “Good Morning!” at the conclusion of the bridge and repeats John’s final line “everybody put their foot down” as the song concludes.
Paul’s scorching lead vocal is an irresistable feature that got this footage included in the film, although it wasn’t officially recorded and thereby could not be considered as a contender for the soundtrack album. Two things of note here is that there were four ascending and descending chord patterns in the instrumental section after John’s lead vocal part, which now were played by Ringo with a straight 4/4 drum pattern on his toms per Paul’s instruction.
From beatlesebooks.com
At the start of the day, before John arrived, George introduced “I Me Mine” to Paul, Ringo, and Michael Lindsay-Hogg. Playing it on guitar and singing the vocals, he explained that he had written it the night before. This led to a brief discussion about the grammar of one line in the lyrics:
George Harrison: Is that grammatical? “Flowing more freely than wine.”
Michael Lindsay-Hogg: Yeah.
George Harrison: “Flowing much freer”?
Michael Lindsay-Hogg: More freely.
Paul McCartney: “Freely”. “Freer”.
George Harrison: It’s funny when… If you’re writing, yeah, thinking of how you say it.
Paul McCartney: “Freer”. For it’s sticky out here. [laughter]
From Peter Jackson’s film “The Beatles: Get Back“, 2021
In the afternoon, the four Beatles rehearsed it extensively. From beatlesebooks.com:
George then worked up his nerve to suggest that his band-mates learn and rehearse his new composition. “Would you like to learn a new one? Very simple,” he asks John who wasn’t present when he presented it to Paul and Ringo. After getting somewhat acclimated with it, John clowns around on guitar during a couple of run throughs, asserting his disapproval of the waltz beat and mockingly suggesting that he play a barrel organ on the song. Since Paul owned an accordion, the bassist thought to put it to good use by making the serious suggestion, “Want the accordion?” George appears to consider this but, since the instrument wasn’t at Twickenham Studios on that day, replies, “If it’s not here, then just f*ck it.” George also voiced an idea to have a stand-up acoustic bass on the song, although this never came to fruition either.
John impatiently asks, “Are you going to teach us this?” George then complies by teaching Paul and John the chords. However, John loses interest and decides to dance the waltz with Yoko while the remaining Beatles rehearse the song extensively. Instead of taking offense, George was amused by their dance routine and suggested that this be John’s contribution to the song for their upcoming performance, since what Lennon could contribute instrumentally wouldn’t really be needed anyway.
George asked John, “Do you want to do that on the show? That’d be great, ’cause it’s so simple to do, the tune. But to do that waltz, or something, if you want to bag it up a bit.” Paul finds this humorous and, imitating a fictional Master Of Ceremonies for the event, accounces, “John and Yoko would like to waltz in their white bag!” adding, in his own voice, “and there’s a white bag dancing around.” In Paul’s MC voice he states “They were doing things inside it!” Paul adds, “We should do it as an escapologist thing, and we put the bag over them” the fictional MC voice announcing, “You can see their not tied at all! There’s nothing up their sleeves!” Interestingly, John and Yoko began their “Bagism” events two-and-a-half months later, their first occuring on March 31st, 1969, during their visit to Vienna to promote their film “Rape.”
From this point on, The Beatles become quite animated in their excitement about developing “I Me Mine” for their proposed upcoming show, displaying a comaraderie unlike what most assume dominated the entire “Let It Be” project. George even suggested “castanets on that bit” where the flamenco-style guitar part was. All in all, The Beatles gave attention to the song at five different times on this day, putting in a total of 41 rehearsals, albeit many of them being incomplete runthroughs. One such rehearsal was included on some 2021 Anniversary editions of the “Let It Be” album, which begins with George inquiring about the sound he was hearing. “Is this on echo?” After George Martin confirms that it is, Paul states, “It’s exciting; new developments!” and then references George’s first Beatles composition “Don’t Bother Me” just before the next rehearsal of “I Me Mine” begins. Meanwhile, John and Yoko’s dance routine was seriously considered to be a part of the arrangement, waltzing rehearsals continuing to the point of Paul and George giving the pair dance instructions. “You’ll spoil the spontaneity of the dance when you actually have to do it,” Paul comments about the frequency of their dance rehearsals. […]
From beatlesebooks.com
Despite the extensive work on “I Me Mine” on this day, The Beatles did not revisit the song for the remainder of the “Get Back” sessions. Later in 1969, Michael Lindsay-Hogg decided to include it in his film, along with the segment showing John and Yoko waltzing. This decision prompted The Beatles — minus John Lennon — to formally record the song in January 1970.
George’s “All Things Must Pass” has been rehearsed on January 2, 3 and 6. On this day, they dedicated a significant amount of time to the song, marking the last occasion they worked on it extensively. When George reintroduced it on January 28 and 29, no serious effort was made to develop it further.
The Beatles had previously worked on Paul’s “Maxwell’s Silver Hammer” on January 3 and 7. They recorded thirteen rehearsals of it on this day.
John joined George in singing harmony during these rehearsals as Mal Evans began to improve in his anvil-hammering technique. Paul here began adlibbing lyrics in the third verse about a judge and courtroom scene, although he had yet to take the time to formally write these lyrics.
From beatlesebooks.com
They continued working on the song on January 10.
The Beatles had rehearsed this new number from Paul on January 7. On this day, they ran through it quickly, delivering uninspired performances. However, they would devote more time to it the following day.
Paul had previously rehearsed “The Long and Winding Road” alone on piano on January 3 and 7. On this day, he began teaching the chords to the others, first to John, who initially showed some interest, and then to George. In the following days, Paul continued working on the song by himself, refining the lyrics. He would eventually begin formally teaching it to the rest of the band on January 26.
On January 3, Paul introduced “Let It Be“, a song he had been working on since at least September 1968. On this day, he brought it to the group, and they began working on it together.
After a lot of attention had been heaped upon George’s “I Me Mine,” this being the only day they actually worked on the song, as well as other new compositions, Paul played “Let It Be” on piano during an equipment set up in the earlier part of the day. Ringo joined in on drums for a bit, as did an uninterested John on guitar. Recognizing Paul’s changing the lyrics from “Brother Malcolm” to “Mother Mary,” John suggested changing it back to a reference to their loyal assistant and former roadie. Paul complied with this during the two renditions of the song they went through at this time, but only when it became obvious that it was a botched performance.
After a lunch break, they returned to “Let It Be” again, Paul calling out the chords to George during the performance. “You know the chords to ‘Mother Mary,’ don’t you?” he asked George, the group referring to the descending instrumental section as “the F bit.” Ringo also began working out his drum part while John occasionally sang during the choruses. Alot of the lyrics were in place at this point, although the final verse was yet to be written. The Beatles had only scratched the surface in becoming acquainted with the song.
From beatlesebooks.com
They continued working on the song the following day, January 9.
John had written “Mean Mr. Mustard” in early 1968 and recorded a demo of it in late May that year, but he decided to shelve it for the time being. On this day, he revisited the song, and the band ran through a version:
[…] During the rehearsal of the song on January 8th, 1969, Lennon revealed some proposed changes to the composition. One change was that the make-shift bridge now contained the repeated lyric “Mean Mr. Mustard, he’s such a dirty bastard,” which was then repeated. Also, another verse with a new chord pattern and melody line was premiered. This additional verse, which lyrically doesn’t make much sense and includes odd changes in time signatures as was John’s habit, could easily have been an ad lib made up on the spot, but nonetheless the lyrics appear to sound like the following:
“Man, I’m coming, gonna do you no harm
From beatlesebooks.com
He’s wearing pink pajamas ’cause he comes from a farm
He’s gotta get some ’cause no one get’s so happy coming home
Well, everyplace you go is low, everyplace you go is low
Everyplace you go is low, everyplace you go is low, low, low”
The only notable lyrical difference from the version later released on “Abbey Road” was the name “Shirley” instead of “Pam.”
“Mean Mr. Mustard” was never seriously considered for the “Get Back” project, though it was rehearsed again on January 14, 23 and 25.
Even though John introduced a new song on this day, “Mean Mr. Mustard,” at some point, Paul still asked him if he had written anything new.
Paul McCartney: Haven’t you written anything else?
John Lennon: No.
Paul McCartney: Haven’t you? … We’re gonna be faced with a crisis.
John Lennon: When I’m up against the wall, Paul, you’ll find I’m at my best.
Paul McCartney: Yeah, I know, John, I know… But I wish you’d come up with the goods.
John Lennon: Look, I think I’ve got Sunday off.
Paul McCartney: Well, I hope you can deliver.
John Lennon: I’m hoping for a little rock and roller.
Paul McCartney: (sarcastic) Yeah, I was hoping for the same thing myself.
From Peter Jackson’s film “The Beatles: Get Back“, 2021
At the end of the day, a lengthy discussion took place, initiated by Michael Lindsay-Hogg and Denis O’Dell, in an effort to persuade The Beatles to perform their live show abroad. The idea of traveling to Libya, first raised on the first day of rehearsals, was revisited. John was enthusiastic about the proposal, and Paul leaned toward agreement, but Ringo and George were opposed. Ultimately, The Beatles decided to sleep on the idea.
Paul McCartney: An outdoor scene has to be in England because…
Denis O’Dell: I don’t think it’s practical to do it in England. It’s too bloody cold.
Michael Lindsay-Hogg: Yes, that was one of the reasons we started veering off on these ideas was when we were looking at locations that Friday after Christmas.
Paul McCartney: We are in a film studio. We’re going to build something so that… We shouldn’t just try and build something like the Tower Ballroom, ’cause we could go to the Tower Ballroom.
Michael Lindsay-Hogg: But, once you get on a stage, you are performers and you gotta have someone to do it to. Either the camera or real people, I think.
Paul McCartney: Yeah, we haven’t… Any number we’ve done at the moment, if we’ve noticed the camera on us, we’ve tried to ignore it.
Michael Lindsay-Hogg: But you’ve either got to be performing directly to the people at home or to an audience.
Paul McCartney: See that’s why I thought like a ballroom. If we did go right back. Like, “Come to the Tower Ballroom. There’s a dance on.” You know? Oh, incidentally, we’ll be the band there. And then we go on and we play all the numbers.
Michael Lindsay-Hogg: But you’re just not the local dance band. I don’t think it’s quite enough scope.
Glyn Johns: I also think that people are very interested in seeing how an audience would react.
Michael Lindsay-Hogg: Because the audience is so much part of the first half of you, musically.
Paul McCartney: Okay, so we’re all prepared to do it with an audience. But you can’t just have the same old audience.
Denis O’Dell: What can you do that’s new with them?
George Harrison: If we can just think of an image, how we’d like to be, which could be like a nightclub act. Just the smoochy low lights and about ten people.
Michael Lindsay-Hogg: What’s the point, when you could be giving people happiness with a full house? Whatever kind of full house we decided. I mean, we have to think about the audience. It really ought to be the whole world.
Denis O’Dell: That’s where… Now we’re going right… the whole circle back to Sabratha.
Michael Lindsay-Hogg: It is a location which is marvelous in itself, by the sea.
Denis O’Dell: What he’s saying is right. It’s the background.
Michael Lindsay-Hogg: I don’t think anything is gonna beat a perfect acoustic place by the water, out of doors.
Ringo Starr: For a rock and roll group?
Denis O’Dell: I really think we ought to go over and set it up upfront. Shoot a day sequence, a night sequence, a torchlight sequence out there with sea, desert, four days. Make it comfortable for everybody.
Michael Lindsay-Hogg: Yes, I think we’re gonna do rock and roll at dawn or at night. I’m sure we can do rock and roll there if we get the right audience.
(chattering)
Michael Lindsay-Hogg: (talking to John Lennon joining the conversation) Come on. We’re going to Africa. We’re off.
Paul McCartney: No, we’re not. Not necessarily.
John Lennon: Yeah! Let’s go! Let’s go!
George Harrison: Where to?
Denis O’Dell: To Sabratha… Tripoli! Fantastic sound!
Ringo Starr: You’re thinking of yourself, ’cause you wanna be nice and warm and cosy!
George Harrison: What is the point of doing it abroad? I’d much rather do it, and then go away.
John Lennon: See, it’s like having the most fantastic set on Earth, but we haven’t made a set, you know?
Ringo Starr: How many are gonna be looking at the set besides us and him?
John Lennon: Every time we’ve done an album, we’ve said, “Why are we stuck in EMI?” We could be doing it in LA. We could be in France. And every time we do it, and here we are again, building another bloody castle around us.
Paul McCartney: Well said, John. Well said!
John Lennon: And this time we do it there. I’d be thrilled to do it. Just timing it so as the sun came up just on the middle eight.
Michael Lindsay-Hogg: One of Russia’s points was that he wanted an English audience.
John Lennon: Oh Russia? That’s be great!
Michael Trommsdorff: No, no, no that’s Ringo’s code name. He’s Russia.
John Lennon: Just give me one reason to stay there?
Ringo Starr: For the people!
John Lennon: People? That’s the only reason. Alright, so we’ll take ’em with us.
Paul McCartney: Look, we were gonna give tickets away at this door here. We’d given out those tickets, but they include a boat ride as well.
Michael Lindsay-Hogg: We take them with us, and that’s the show.
Paul McCartney: Okay, yeah. We’re doing a live show. And we’re doing it in Arabia. And it’s like… Whoever has been waiting to see the lads rocking again.
George Harrison: It’s just impractical to try and get all those… Lug all them people there and try and get all that equipment.
Paul McCartney: But then if it was their problem…
Denis O’Dell: But if you say, “That’s what I want,” that’s what has to happen.
John Lennon: That’s not our problem.
George Harrison: Of course it’s our problem.
Paul McCartney: Tell you what I’ll offer you. If we’re going away and we hire a boat to take the audience with you. We’ll do a bloody show on a boat.
Michael Lindsay-Hogg: Wait here’s France coming in here now.
George Harrison: France? I can’t go to France!
Michael Lindsay-Hogg: No no, no. That’s your code name.
Paul McCartney: No, he smoked some garlic once. (laughing)
Paul McCartney: So, like, I’ll come in with you, as long as you can get a couple of boats.
George Harrison: And then we’re stuck with a bloody big boatload of people for two weeks. At least you can go home from here. You can get away from it all.
Denis O’Dell: It’ll take three days trip on the boat.
George Harrison: I think the idea of the boat is completely insane. It’s very expensive and insane, and…
Denis O’Dell: I think it should be the least of our worries. Money. I really do.
George Harrison: And who’s gonna cough up for that though?
John Lennon: If P&O will do a deal with Storm, they’ll do one with us.
George Harrison: They haven’t even made back the money it cost to buy the film for Magical Mystery Tour.
John Lennon: We should be able to get the boat for the publicity they get from it.
George Harrison: They won’t even give us a free Fender amp!
Ringo Starr: I’ve stopped being Russia now.
Denis O’Dell: It’s gonna be great. You’d love the place.
Ringo Starr: I’ve moved to Yugoslavia! [chuckles]
George Harrison: I may love the place, but I’d rather do the show, then go and love the place.
Ringo Starr: How’re you gonna get a ship in a couple of days?
John Lennon: We got the American Navy for “How I Won The War”.
Ringo Starr: I was there. Yes, I know. But they were passing by and you only used them for a few hours. I’ve seen it, John. I went to the premiere.
John Lennon: Did you enjoy it?
Ringo Starr: I thought you were great.
John Lennon: Thanks a lot, Ringo. (laughing)
Michael Lindsay-Hogg: How are we stacking? If there’s no problem with the equipment, and with the right audience, which will be basically English-speaking brought from here.
John Lennon: Broad-minded Englishmen wanted!
Ringo Starr: Still not the same.
Michael Lindsay-Hogg: If you’ll say yes, and if we get it together, then will you go?
John Lennon: Well, if we mull it over tonight. Leave it in the air and that, just think about it.
Michael Lindsay-Hogg: Well, I feel, as the trade says, “The vibes are very good at the moment.”
John Lennon: But we can all say yes now and somebody can decide no tomorrow. It’s not gonna make any odds.
Ringo Starr: Good night, everybody!
Michael Lindsay-Hogg: Good night, Russia.
Ringo Starr: That’s a wrap.
Denis O’Dell: I’ll see you in Sabratha!
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.
Written by George Harrison
Recording • DDSI.8.01 • 1:33
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Written by George Harrison
Recording • DDSI.8.02 • 2:47
George Harrison : Electric guitar, Vocal
Written by George Harrison
Recording • DDSI.8.03 • 0:21
George Harrison : Electric guitar, Vocal
Written by George Harrison
Recording • DDSI.8.04 • 3:19
George Harrison : Electric guitar, Vocal
Recording • DDSI.8.05 • 2:56 • A few lines of "I've Got A Feeling" played by Paul, and some dialogues
Performed by : Paul McCartney
Get Your Rocks Off
Recording • DDSI.8.06 • 6:44
Performed by : George Harrison
Improvisation
Recording • DDSI.8.07 • 1:45
Paul McCartney : Piano Ringo Starr : Drums
Improvisation
Recording • DDSI.8.08 • 4:04 • Improvisation leading to a performance of "Honey Hush"
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
Written by Joe Turner
Recording • DDSI.8.08 • 4:04
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
Written by Joe Turner
Recording • DDSI.8.09 • 0:19
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
Written by Jerry Leiber, Mike Stoller, Ben E. King
Recording • DDSI.8.10 • 2:33
Performed by : Paul McCartney • George Harrison
Written by Traditional
Recording • DDSI.8.11 • 1:10 • Parody by Paul McCartney, using Apple's financial advisor's name, Harry Pinsker, instead of "Hare Krishna"
Performed by : Paul McCartney
"Well, If You're Ready"
Recording • DDSI.8.12 • 0:24 • Improvisation in mock-Elvis style
Performed by : Paul McCartney
Written by Traditional
Recording • DDSI.8.13 • 0:41 • Restarting parody version of "Hare Krishna Mantra"
Performed by : Paul McCartney
Recording • DDSI.8.14 • 3:31
Performed by : Paul McCartney • John Lennon
"You Got Me Going"
Recording • DDSI.8.15 • 0:24
Performed by : Paul McCartney
Written by Phil Medley, Bert Russell
Recording • DDSI.8.16 • 0:19
Recording • DDSI.8.17 • 3:12
Recording • DDSI.8.18 • 3:45
St Louis Blues
Recording • DDSI.8.19 • 1:09
Performed by : John Lennon • George Harrison
Recording • DDSI.8.20 • 3:35
Recording • DDSI.8.21 • 0:50 • John’s remark, “Queen says no to pot-smoking FBI members,” recorded at the end of “Too Bad About Sorrows,” was later included on the “Let It Be” album prior to “For You Blue.”
Recording • DDSI.8.22 • 0:29
Recording • DDSI.8.23 • 1:00
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
She Came In Through The Bathroom Window
Recording • DDSI.8.24 • 0:39
Written by Marshall Sehorn, Elmore James
Recording • DDSI.8.25 • 0:34
Performed by : Paul McCartney
Written by Jimmy Webb
Recording • DDSI.8.26 • 4:20
Performed by : Paul McCartney • John Lennon
Written by George Harrison
Recording • DDSI.8.27 • 1:59
Written by George Harrison
Recording • DDSI.8.28 • 1:20
Written by George Harrison
Recording • DDSI.8.29 • 0:06
Written by George Harrison
Recording • DDSI.8.30 • 0:15
Written by George Harrison
Recording • DDSI.8.31 • 8:14
Written by George Harrison
Recording • DDSI.8.32 • 4:53
Written by George Harrison
Recording • DDSI.8.33 • 2:03
Written by George Harrison
Recording • DDSI.8.34 • 1:44
Written by George Harrison
Recording • DDSI.8.35 • 1:51
Written by George Harrison
Recording • DDSI.8.36 • 1:42
Written by George Harrison
Recording • DDSI.8.37 • 1:40
Recording • DDSI.8.38 • 4:09
Performed by : John Lennon
Recording • DDSI.8.39 • 1:39
Written by George Harrison
Recording • DDSI.8.40 • 3:26
Written by Jack Clement, Murphy Maddux
Recording • DDSI.8.41 • 2:15
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
Written by Hank Williams
Recording • DDSI.8.42 • 1:41
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
Improvisation
Recording • DDSI.8.43 • 1:36
She Came In Through The Bathroom Window
Recording • DDSI.8.44 • 1:17
She Came In Through The Bathroom Window
Recording • DDSI.8.45 • 1:34
She Came In Through The Bathroom Window
Recording • DDSI.8.46 • 3:12
She Came In Through The Bathroom Window
Recording • DDSI.8.47 • 3:08
Right String, Wrong Yo-Yo
Recording • DDSI.8.48 • 0:15
Performed by : John Lennon
Boogie Woogie
Recording • DDSI.8.49 • 0:16
Performed by : John Lennon
Baa Baa Blacksheep
Recording • DDSI.8.50 • 0:23
Performed by : Ringo Starr • John Lennon
Mr Bassman
Recording • DDSI.8.51 • 0:18
Performed by : John Lennon
Improvisation
Recording • DDSI.8.52 • 1:12
Improvisation
Recording • DDSI.8.53 • 3:26
Written by George Harrison
Recording • DDSI.8.54 • 1:03
Improvisation
Recording • DDSI.8.55 • 1:36
Recording • DDSI.8.56 • 4:00
Recording • DDSI.8.57 • 0:55
Recording • DDSI.8.58 • 3:47
Recording • DDSI.8.59 • 4:08
Recording • DDSI.8.60 • 0:52
Recording • DDSI.8.61 • 1:49
Recording • DDSI.8.62 • 1:41
Recording • DDSI.8.63 • 2:32
Recording • DDSI.8.64 • 0:50
Recording • DDSI.8.65 • 1:10
Recording • DDSI.8.66 • 1:05
"Life Is What You Make It"
Recording • DDSI.8.67 • 0:09
Recording • DDSI.8.68 • 2:18
Recording • DDSI.8.69 • 5:15
Improvisation
Recording • DDSI.8.70 • 2:54
Written by George Harrison
Recording • DDSI.8.71 • 0:50
Written by George Harrison
Recording • DDSI.8.72 • 3:37
How Do You Think I Feel
Recording • DDSI.8.73 • 0:43
Performed by : George Harrison
The Ballad Of Bonnie And Clyde
Recording • DDSI.8.74 • 1:28
Performed by : John Lennon
Hello Mudduh, Hello Fadduh!
Recording • DDSI.8.75 • 1:43
Performed by : Ringo Starr • John Lennon
Written by George Harrison
Recording • DDSI.8.76 • 1:48
FBI
Recording • DDSI.8.77 • 2:08
Performed by : John Lennon
I'm Going To Knock Him Down Dead
Recording • DDSI.8.78 • 0:32
Performed by : John Lennon
Unknown
Recording • DDSI.8.79 • 1:21
Recording • DDSI.8.80 • 2:04
Performed by : Paul McCartney • Ringo Starr
Written by George Harrison
Recording • DDSI.8.81 • 0:42
Recording • DDSI.8.82 • 10:29
Unknown
Recording • DDSI.8.83 • 1:08
Unknown
Recording • DDSI.8.84 • 0:19
Unknown
Recording • DDSI.8.85 • 0:20
The Fool
Recording • DDSI.8.86 • 0:24
Performed by : John Lennon • George Harrison
Written by George Harrison
Recording • DDSI.8.87 • 2:47
Written by George Harrison
Recording • DDSI.8.88 • 0:50
Written by George Harrison
Recording • DDSI.8.89 • 0:42
Written by George Harrison
Recording • DDSI.8.90 • 2:23
Written by George Harrison
Recording • DDSI.8.91 • 2:25
Written by George Harrison
Recording • DDSI.8.92 • 0:49
Written by George Harrison
Recording • DDSI.8.93 • 0:54
Written by George Harrison
Recording • DDSI.8.94 • 1:31
Written by George Harrison
Recording • DDSI.8.95 • 0:04
Written by George Harrison
Recording • DDSI.8.96 • 0:56
Written by George Harrison
Recording • DDSI.8.97 • 1:13
Written by George Harrison
Recording • DDSI.8.98 • 1:44 • Medley with "Domino"
Written by Louis Ferrari, Don Raye
Recording • DDSI.8.98 • 1:44 • Medley with "I Me Mine"
Performed by : Paul McCartney
Written by George Harrison
Recording • DDSI.8.99 • 1:21
Written by George Harrison
Recording • DDSI.8.100 • 0:21
Written by George Harrison
Recording • DDSI.8.101 • 2:05
Recording • DDSI.8.102 • 0:46
Recording • DDSI.8.103 • 1:03
Recording • DDSI.8.104 • 6:13
Performed by : Paul McCartney
Written by Samuel Barber
Recording • DDSI.8.105 • 1:08
Performed by : Paul McCartney
Written by George Harrison
Recording • DDSI.8.106 • 0:39
Written by Paul McCartney
Recording • DDSI.8.107 • 1:39
Written by George Harrison
Recording • DDSI.8.108 • 2:08
Written by George Harrison
Recording • DDSI.8.109 • 1:55
Improvisation
Recording • DDSI.8.110 • 3:17
Written by Cole Porter
Recording • DDSI.8.111 • 1:39
Performed by : Paul McCartney
Unknown
Recording • DDSI.8.112 • 1:20
Shout!
Recording • DDSI.8.113 • 1:12
Performed by : John Lennon
Sweet Little Sixteen
Recording • DDSI.8.114 • 1:13
Performed by : John Lennon
Malagueña
Recording • DDSI.8.115 • 0:22
Performed by : John Lennon
Written by Chuck Berry
Recording • DDSI.8.116 • 1:24
Performed by : Paul McCartney • John Lennon • George Harrison
What Am I Living For
Recording • DDSI.8.117 • 1:37
Performed by : John Lennon • George Harrison
Written by Chuck Berry
Recording • DDSI.8.118 • 1:45
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
Written by George Harrison
Recording • DDSI.8.119 • 0:46
Written by George Harrison
Recording • DDSI.8.120 • 0:57
Written by George Harrison
Recording • DDSI.8.121 • 1:26
Written by George Harrison
Recording • DDSI.8.122 • 0:44
Written by George Harrison
Recording • DDSI.8.123 • 1:18
Written by George Harrison
Recording • DDSI.8.124 • 1:02
Written by George Harrison
Recording • DDSI.8.125 • 1:44
Written by George Harrison
Recording • DDSI.8.126 • 3:07
Written by George Harrison
Recording • DDSI.8.127 • 1:09
Written by George Harrison
Recording • DDSI.8.128 • 0:58
Written by George Harrison
Recording • DDSI.8.129 • 0:24
Written by George Harrison
Recording • DDSI.8.130 • 0:34
Written by George Harrison
Recording • DDSI.8.131 • 0:49
Written by George Harrison
Recording • DDSI.8.132 • 1:49
Recording • DDSI.8.133 • 3:12
Recording • DDSI.8.134 • 0:04
Recording • DDSI.8.135 • 2:43
Recording • DDSI.8.136 • 0:08
Recording • DDSI.8.137 • 0:14
Recording • DDSI.8.138 • 17:52
Recording • DDSI.8.139 • 3:07
Recording • DDSI.8.140 • 6:21
Written by Robbie Robertson
Recording • DDSI.8.141 • 2:31
Performed by : Paul McCartney • John Lennon • George Harrison
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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