Master session
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The "Get Back / Let It Be" sessions
January 1969 • Songs recorded during this session appear on Let It Be (Limited Edition)
Location
Recording studio: Twickenham Film Studios, London, UK
Timeline
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
Article Jan 12, 1969 • The Beatles meet together to discuss their personal and business problems
Master release
Some of the songs from this session also appear on:
Overview
This day was the sixth day of rehearsals at Twickenham Film Studios in London, part of The Beatles’ “Get Back” sessions.
Paul McCartney was the first to arrive in the morning, accompanied for the first time by his girlfriend, photographer Linda Eastman (Linda had previously joined some sessions for the White Album in late 1968). Sitting at the piano, he played an early version of “Another Day,” a song that would later become his first solo single in 1971. He also debuted “Her Majesty,” a short song that would find its way onto “Abbey Road” later that year.
Once the rest of the band arrived, they focused on refining songs they had been working on in previous days. They delivered strong performances of “Don’t Let Me Down,” “Two Of Us,” “I’ve Got A Feeling,” “One After 909,” and “She Came In Through The Bathroom Window.”
They also worked extensively on “Across The Universe” as well as works-in-progress “For You Blue,” and “Let It Be.”
The day saw the first serious attempt at “Get Back,” though at this stage, it remained more of a jam than a structured composition. The song’s early lyrics satirized the growing anti-immigration sentiment in Britain, echoing rhetoric from politicians like Enoch Powell. Improvised lines such as “Don’t dig no Pakistanis taking all the people’s jobs” and “Don’t need no Puerto Ricans living in the USA” were later misinterpreted when bootleg recordings surfaced, leading to accusations of racism. This political theme extended into other improvisations, including “Commonwealth,” a 1950s-style rocker with Paul McCartney adopting an Elvis Presley-inspired vocal.
The session also featured brief run-throughs of Paul’s “Teddy Boy,” “Junk,” and “Penina,” though none received much attention. As in previous days, The Beatles frequently broke into old rock ’n’ roll standards.
While the session was productive in refining key songs, much of the playing remained loose and exploratory. With fewer prolonged discussions or musical disagreements, the atmosphere was noticeably more relaxed than on some of the previous days.
The Beatles returned to Twickenham the following day.
Main songs recorded on this day
The Long And Winding Road
Paul had previously rehearsed “The Long and Winding Road” alone on piano on January 3 and 7. On January 8, he began teaching the chords to the others. On this day, while waiting for the rest of the band to arrive, Paul McCartney sat at the piano, working on the lyrics with some input from Mal Evans. Over the following days, he continued to improve the lyrics before formally introducing the song to the other Beatles in earnest on January 26.
From beatlesebooks.com:
Paul gets a little further with the lyrics on January 9th, 1969, as seen in Peter Jackson’s 2021 “Get Back” documentary series. Paul sits down at the piano to go over some songs while waiting for George and John to arrive. When assistant Mal Evans asks “Do you have any more words to write out? More songs?,” Paul starts dictating to him what he has so far for “The Long And Winding Road.” After the first verse, Paul sings “The second verse that I haven’t got yet – leave a space for the same thing, la, la, la.” Mal Evans then equates the lyrics of the first verse with a famous movie. “Did you ever see the Wizard Of Oz?” he asks, to which Paul replies, “No, No, No I didn’t,” this prompting Mal Evans to mention “the yellow brick road.” For the bridge, Paul tries to incorporate the word “pleasure,” such as “all the pleasure from the many ways I’ve tried,” but then states his idea as “‘I’ve had lots of pleasure’ but said better, y’know, ‘I’ve had many pleasure ever, much, much.’” When moving into the third verse, Paul sings “You left me waiting here,” to which Mal Evans states, “Use ‘standing.’” “You like ‘standing’ better?,” Paul asks, to which Mal Evans responds, “Yeah, put ‘waiting’ there and ‘standing’ here.” After Paul demonstrates this, he tells Mal Evans, “There’s no more to that yet. Just call that ‘middle.’“
When Mal Evans asks if he as “any ideas for the second verse,” Paul replies, “I was thinking of having, like another, like the weather obstacle,” and then sings, “The storm clouds la, la, rain break apart while you roam.” Mal Evans suggests, “The black and stormy rainclouds which gather ’round your door,” which prompts Paul to smile and say, “I suppose it should still be about the sort of winding road. I’ve just got that picture. It’ll be like that thing that’s up ahead.” Paul then humorously sings, “The thing that’s up ahead.” Mal Evans then suggests, “Like, what about the obstacles on the road?,” to which Paul replies, “No, I think, y’know, there’s enough obstacles without putting them in the song.“
From beatlesebooks.com
For You Blue
George Harrison introduced his song “For You Blue” on January 6 and 7, initially performing it solo as an instrumental piece. On this day, the four Beatles rehearsed it extensively, though the lyrics were still being developed.
From beatlesebooks.com:
George was persistent with his “folk/blues” song, as he referred to “For You Blue”at the time, on January 9th, 1969 at Twickenham Studios, when he led them through a total of fifteen versions of the song in order to aquaint them with how it goes. Concerning the song’s arrangement, George said he wanted it to sound like “those bluesy people, but the folky ones.” He expressed that he had in mind Son House, who was a veteran blues performer who had recently been rediscovered and brought out of retirement in the blues revival of the 60’s. After going through a few acoustic guitar versions of the song, he was eventually joined by Paul on piano and John playing a walking bass line on electric guitar before they went on to other tunes, such as Paul’s “Two Of Us.” Paul and John may not have viewed this composition too seriously at this point, but they were obviously enjoying vamping to the 12-bar blues pattern. The lyrics don’t appear to have been formed completely at this point, George focusing on the lines “Because your’re sweet and lovely girl, I love you” and “I love you more than ever.”
They returned to to song later on that day, at “a quarter to four” as the slate documentor stated, Paul complaining “It was a little bit loud for me.” John replies, “Leave the group then, if you don’t like it!” Paul yells out for the “technicians” as John references “Hotel Liverpool” while they run through an impromptu rendition of “For You Blue.” Both George and John are on electric guitars at this point, with Paul on bass and Ringo on drums, their standard line-up. Amid some false starts, they ran through this song a number of times amid jamming on some oldies, such as “Honey Hush,” “Be-Bop-A-Lula” and “Slippin’ And Slidin.’” George still hadn’t formulated the lyrics fully yet, John stating, “Pretty short, isn’t it?” after one rehearsal.
From beatlesebooks.com
I’ve Got A Feeling
“I’ve Got A Feeling” had been rehearsed on January 2, 3, 6, 7 and 8. On this day, the band performed it five times.
From beatlesebooks.com:
On January 9th, 1969, they went through “I’ve Got A Feeling” five times, excerpts from one of them being spliced together with the above mentioned January 8th, 1969 footage for the “Let It Be” movie. With Paul sitting down and George wearing a dark colored shirt and not a red shirt as on the previous day, thus revealing that an edit job was performed for the film, the version of the song in question contains John reverting back to singing “everybody got a face-lift” in a couple places and singing in an Americanized nasal tone, repeating “oh yeah?” several times during the song’s conclusion. As the song ends, John plays a mock concluding guitar riff with many intentionally sour notes, this being captured twice in the movie from different camera angles. George is featured here playing his guitar through a wah-wah pedal, something that was eventually decided against for all of the songs in the “Get Back / Let It Be” project except for John’s use of the effect in “Across The Universe.”
In between these five rehearsals, Paul takes the time to instruct George on what he envisioned for the descending guitar riff at the conclusion of the bridge, this instruction being featured in the movie. “It’s coming down too fast, the note,” Paul tells George, adding, “No, there shouldn’t be any recognizable jumps. It’s got to be like pain. At the moment, it’s like a riff. Do anything that’s like it’s crying…It’s, like, falling, falling!” George attempts to follow Paul’s wishes in this regard, something that he eventually nails as the sessions continue.
From beatlesebooks.com
One After 909
“One After 909“ had been rehearsed on January 3, 6, 7 and 8. On this day, they performed it four times:
The next day, January 9th, 1969, witnessed them rehearsing the song four times, George still playing his lead guitar through a wah-wah pedal. Footage from two of these versions was edited together and featured in the “Let It Be” movie, prefaced by Paul explaining how he and John would “sag off every school day” to write songs at his house in the early days
From beatlesebooks.com
One of the first songs we’d ever done. We all used to sag off every school day, you know, and go back to my house. And the two of us would just sit there and write ‘Love Me Do’ and ‘Too Bad About Sorrows.’ And there’s a lot from then, about 100 songs from then that we never reckoned. ‘Cuz they were all very unsophisticated songs, but they’re great, you know.
Paul McCartney
She Came In Through The Bathroom Window
The Beatles had rehearsed this new number from Paul on January 7 and 8. They devoted more time to it on this day.
From beatlesebooks.com:
The song was usually rehearsed much slower, as on the one aimless version performed on January 8th and the seven further performances on January 9th, 1969. By this time, the band had worked out the arrangement of the song quite nicely, John joining in proficiently on harmony vocals during the choruses. The instrumentation during these rehearsals was Paul on bass on lead vocals, John on piano and harmony vocals, George on his Fender Telecaster run through a Leslie speaker and wah pedal, and Ringo on drums.
The Beatles got quite silly during the rehearsals of the song on January 9th, one version being documented by a technician to have happened at “one o’clock” that was counted out by Paul in German and featuring some lead vocals by John in a thick Cockney accent. Paul would then provide off-the-cuff responses to fill in the spaces left after each of John’s lead vocal lines, such as “a bloody spoon, a bloody spoon, a bloody silver spoon.” Another rehearsal of the song, as witnessed on the 2021 Peter Jackson “Get Back” series, begins with Paul asking, “So, do you want to try another one? Once more…,” to which John responds “…with feeling,” prompting Paul to counter with “…with Felix!” The second verse has Paul altering the lyrics to “and though she thought I had the answer, I just had to sail away.” The third verse then included this Paul / John interchange:
Paul: “And so I quit the police department.”
From beatlesebooks.com
John: “Get a job, cop!”
Paul: “And got myself a proper job.”
John: “Bloody ’bout time too, if you ask me.”
Paul: “And though she tried her best to help me.”
John: “You bloody need it, too.”
Get Back
“Get Back” was conceived on January 7 in the studio. The song’s melody emerged organically from an unstructured jam session, gradually taking shape as Paul improvised lyrics and chord progressions. On this day, they continued working on the track.
From beatlesebooks.com:
Two days later, January 9th, 1969 at Twickenham Studios, The Beatles returned to hash out four renditions of the unfinished song that would eventually become “Get Back.” After all four Beatles put in a lot of work on the songs “Let It Be” and “For You Blue,” among others, they began rough jams based around the “get back” theme, this undoubtedly being the first time Lennon became acquainted with it.
The verse lyrics were still ad libbed at this point but bits of a rough storyline was beginning to emerge, references to California and Arizona being sung here and there in the first couple of renditions performed on this day. However, local news items concerning Parliament member Enoch Powell’s beliefs that too many non-white citizens of the British Empire were immigrating to England and taking away limited jobs had been discussed by The Beatles on this day. Since Paul was struggling to piece together coherent lyrics to this song, John humorously proposed the infusion of this subject matter into the lyrics to create a political satire.
“Don’t want no black man…!” Lennon demonstrates, which is countered by Paul with “Don’t dig no Pakistanis taking all the people’s jobs.” Paul then directs his band-mates into another rendition of the song, screaming “Get Back!” repeatedly in a voice that mocks the hatred behind Enoch Powell’s public statements. Verses of this version include Paul singing “lots of Puerto Ricans,” “All the folks around sit by, he a Mohican living in the USA” and singing his earlier idea “Don’t dig no Pakistanis taking all the people’s jobs.” The song finishes with Paul screaming out maniacally in a way that reminds one of how John concluded the final moments of his hit “Cold Turkey” to simulate his withdrawl from heroin. Since John’s song was recorded later that same year, it’s easy to conclude that this early rendition of “Get Back” may have been remembered and thereby have been his inspiration, if only subliminally.
After this was out of their systems, they returned to a more serious rehearsal of “Get Back” with the principal characters Joe and Theresa being introduced for the first time. A little later that day, however, Enoch Powell’s beliefs were once again the subject of an ad-libbed song, this being referred to in bootleg releases as “Commonwealth.” With Harold Wilson and Edward Heath once again being referenced in the lyrics of a Beatles song (see “Taxman”), Paul begins by mimicking the recent British hit “Israelites” by Desmond Dekker with its reggae beat and distinctive vocalization. As the song transcends into a more typical 12-bar pattern as heard in early Elvis recordings, John adds to the fun of the occasion by suggesting to end each chorus with the line “The commonwealth is much too common for me.”
From beatlesebooks.com
Across The Universe
After John reintroduced the 1968 track “Across the Universe” to the band on January 6 and they rehearsed it twelve times on January 7. On this day, the ran through it twelve more times.
Two days later, January 9th, 1969, The Beatles ran through twelve more rehearsals of “Across The Universe,” undoubtedly spurred on by hearing the original recording two days earlier. Unfortunately, these rehearsals were rough unfocused performances that were occasionally strewn with semi-humorous lyrical changes, a bit of an interesting tongue-in-cheek fast version with a rhythm somewhat similar to “I’ll Cry Instead” being seen in Peter Jackson’s “Get Back” series.
From beatlesebooks.com
Let It Be
On January 3, Paul introduced “Let It Be“, a song he had been developing since at least September 1968. The previous day, he had brought it to the group, and they began working on it together. On this day, the band continued working on the track, running through it sixteen times.
During rehearsals of the song on January 9th, 1969, George Harrison suggested that, since it had a gospel feel, Paul should present it to Aretha Franklin for her to record. “Do it AND give it to her,” Paul responded. “As soon as we’ve got it, then we should get the tapes and do a rough demo when it’s the first rehearsal. It’d be great for Aretha Franklin, that number.” In the book contained in the Anniversary edition of the album “Let It Be,” Paul elaborated: “What I used to like to do was think who would I really like to do this so, if we weren’t jealously guarding a song for some reason, I would get an early version to people I would love to record it. I sent ‘Let It Be’ to Aretha Franklin.” This resulted in her rendition of the song being included on her “This Girl’s In Love With You” album that was released on January 15th, 1970, nearly two months prior to The Beatles’ released version.
From beatlesebooks.com
Conversations
The previous day, Michael Lindsay-Hogg and Denis O’Dell again attempted to persuade the Beatles to perform abroad. John was enthusiastic about the idea, and Paul was inclined to agree, but Ringo and George were opposed.
On this day, the discussion resurfaced, with Ringo expressing his opposition more firmly than before. Various alternative locations in the UK were briefly considered — Mal Evans suggested Twickenham Studios, while Paul proposed a farm — but by the end of the day, no idea had gained traction.
Michael Lindsay-Hogg: Go out on Sunday and finish it on Sunday. I think we spend ’til the middle of next week here. Go out, do it the following weekend, in other words, eight days.
Ringo Starr: I went off the boat, actually.
Michael Lindsay-Hogg: The only thing is, it’s, um… I think… I really do think it’s gonna be for the world.
Ringo Starr: The biggest part of our world is America and England.
Linda Eastman: It’s true.
Michael Lindsay-Hogg: Yes, but they do think of you as for everybody in the world. That’s one of the things I thought was good about “Jude,” the guy in the turban.
Ringo Starr: Yeah.
From Peter Jackson’s film “The Beatles: Get Back“, 2021
Mal Evans: What do you think of… Where to do the show? Did you think about it last night?
Paul McCartney: (shaking head to say no)
Mal Evans: It’s gonna be an indoor… It’s gonna be indoor… inside a building.
Paul McCartney: The airport and the Houses of Parliament aren’t the right ones, but if, you know, we hit the right one…
Mal Evans: I think it’s down to if we’re going to do it in this country, we might as well do it here.
Paul McCartney: But actually… We’re going on a farm in Scotland.
Mal Evans: What?
Paul McCartney: Kidding… Yugoslavia.
Linda Eastman: I’d love to find… a farm.
Michael Lindsay-Hogg: Yes, Paul was saying yesterday, a farm.
From Peter Jackson’s film “The Beatles: Get Back“, 2021
George Harrison: If we are in a groovy location place, we can make the show about different bits and pieces of what we’ve done. Or we have to do it in one consecutive piece.
John Lennon: I think we could do both, you see? We should do it about three times. We’d settle on one day when we say, “This is the show.” But we’d do a, like, dress rehearsal.
George Harrison: Okay. Shall we do some other people’s tunes as well?
Unknown: That’d be nice.
John Lennon: I don’t know any. I can only just bear doing your lot’s songs.
George Harrison: Some other people’s songs are much better than ours.
John Lennon: That’s why I don’t learn ’em.
From Peter Jackson’s film “The Beatles: Get Back“, 2021
Session activities
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.
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Written by Paul McCartney, Linda Eastman / McCartney
Recording • DDSI.9.01 • 3:28
Performed by : Paul McCartney
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
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Unknown
Recording • DDSI.9.02 • 0:34
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Instrumental
Recording • DDSI.9.03 • 1:30
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The Palace Of The King Of The Birds
Written by Paul McCartney
Recording • DDSI.9.04 • 0:24
Performed by : Paul McCartney
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
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The Palace Of The King Of The Birds
Written by Paul McCartney
Recording • DDSI.9.05 • 0:31
Performed by : Paul McCartney
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Recording • DDSI.9.06 • 0:42
Performed by : Paul McCartney
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Recording • DDSI.9.07 • 6:17
Performed by : Paul McCartney
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
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Recording • DDSI.9.08 • 3:46
Performed by : Paul McCartney
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Recording • DDSI.9.09 • 2:04
Performed by : Paul McCartney
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Recording • DDSI.9.10 • 4:48
Performed by : Paul McCartney
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
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Recording • DDSI.9.11 • 2:58
Performed by : Paul McCartney • Ringo Starr
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
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Recording • DDSI.9.12 • 2:43
Performed by : Paul McCartney
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Recording • DDSI.9.13 • 0:15
Performed by : Paul McCartney
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Recording • DDSI.9.14 • 2:44
Performed by : Paul McCartney
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Recording • DDSI.9.15 • 2:35
Performed by : Paul McCartney
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Recording • DDSI.9.16 • 2:29
Performed by : Paul McCartney
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Instrumental
Recording • DDSI.9.17 • 2:34 • It is 11 am, and George Harrison arrives in the studio
Performed by : Paul McCartney • Ringo Starr
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Instrumental
Recording • DDSI.9.18 • 5:34
Performed by : Paul McCartney • Ringo Starr
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Instrumental
Recording • DDSI.9.19 • 3:28
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Instrumental
Recording • DDSI.9.20 • 0:41
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Written by George Harrison
Recording • DDSI.9.21 • 2:51
Performed by : George Harrison
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
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Written by George Harrison
Recording • DDSI.9.22 • 2:41
Performed by : Paul McCartney • George Harrison
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Written by George Harrison
Recording • DDSI.9.23 • 3:09
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Written by George Harrison
Recording • DDSI.9.24 • 1:33 • John Lennon and Yoko Ono arrive in the studio.
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Written by George Harrison
Recording • DDSI.9.25 • 0:49
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Written by George Harrison
Recording • DDSI.9.26 • 2:51
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Written by George Harrison
Recording • DDSI.9.27 • 2:47
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Written by George Harrison
Recording • DDSI.9.28 • 4:04
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Improvisation
Recording • DDSI.9.29 • 3:16
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Recording • DDSI.9.30 • 2:12
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Recording • DDSI.9.31 • 2:16
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Recording • DDSI.9.32 • 2:55
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Recording • DDSI.9.33 • 6:47
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Recording • DDSI.9.34 • 3:04
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Recording • DDSI.9.35 • 1:16
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Recording • DDSI.9.36 • 2:20
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Recording • DDSI.9.37 • 5:06
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Baa, Baa, Black Sheep
Recording • DDSI.9.38 • 1:51
Performed by : John Lennon
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Recording • DDSI.9.39 • 3:14
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Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison
Recording • DDSI.9.40 • 2:25
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
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Recording • DDSI.9.41 • 4:16
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Recording • DDSI.9.42 • 14:29
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Recording • DDSI.9.43 • 1:42
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Recording • DDSI.9.44 • 0:29
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Recording • DDSI.9.45 • 1:29
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Recording • DDSI.9.46 • 0:43
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Recording • DDSI.9.47 • 0:23
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Recording • DDSI.9.48 • 0:17
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Recording • DDSI.9.49 • 0:55
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Norwegian Wood (This Bird Has Flown)
Recording • DDSI.9.50 • 0:38
Performed by : Paul McCartney • George Harrison
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She Came In Through The Bathroom Window
Recording • DDSI.9.51 • 0:17
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
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She Came In Through The Bathroom Window
Recording • DDSI.9.52 • 2:17
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She Came In Through The Bathroom Window
Recording • DDSI.9.53 • 0:18
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Written by Gene Vincent, Donald Graves, Bill Davis
Recording • DDSI.9.54 • 1:08
Performed by : Paul McCartney
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She Came In Through The Bathroom Window
Recording • DDSI.9.55 • 0:19
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She Came In Through The Bathroom Window
Recording • DDSI.9.56 • 2:25
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She Came In Through The Bathroom Window
Recording • DDSI.9.57 • 2:22
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She Came In Through The Bathroom Window
Recording • DDSI.9.58 • 0:21
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Unknown
Recording • DDSI.9.59 • 1:13
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Recording • DDSI.9.60 • 2:28
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Recording • DDSI.9.61 • 5:18
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Recording • DDSI.9.62 • 5:28
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Recording • DDSI.9.63 • 3:06
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Recording • DDSI.9.64 • 0:38
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Recording • DDSI.9.65 • 4:35
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Recording • DDSI.9.66 • 1:57
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Instrumental
Recording • DDSI.9.67 • 5:47
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Written by Paul McCartney
Recording • DDSI.9.68 • 1:07
Performed by : Paul McCartney • Ringo Starr • John Lennon
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Instrumental
Recording • DDSI.9.69 • 1:18
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Recording • DDSI.9.70 • 1:03
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Recording • DDSI.9.71 • 1:02
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Recording • DDSI.9.72 • 0:06
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Recording • DDSI.9.73 • 0:33
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Recording • DDSI.9.74 • 1:29
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Recording • DDSI.9.75 • 1:03
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Recording • DDSI.9.76 • 0:07
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Recording • DDSI.9.77 • 0:05
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Recording • DDSI.9.78 • 0:04
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Written by Paul McCartney
Recording • DDSI.9.79 • 0:16
Performed by : Paul McCartney
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Written by Paul McCartney
Recording • DDSI.9.80 • 0:16
Performed by : Paul McCartney
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Recording • DDSI.9.81 • 4:15
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Recording • DDSI.9.82 • 2:00
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Recording • DDSI.9.83 • 3:35
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Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison
Recording • DDSI.9.84 • 0:41
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
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Written by Ian Samwell
Recording • DDSI.9.85 • 0:52
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
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Written by Roy Brown
Recording • DDSI.9.86 • 2:05
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
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Written by Carl Perkins
Recording • DDSI.9.87 • 2:02
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
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Recording • DDSI.9.88 • 0:21
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Written by Traditional
Recording • DDSI.9.89 • 3:13
Performed by : Paul McCartney • John Lennon
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
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Recording • DDSI.9.90 • 3:37
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
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"Enoch Powell"
Recording • DDSI.9.91 • 0:29
Performed by : John Lennon
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Recording • DDSI.9.92 • 5:58
Performed by : Paul McCartney • John Lennon
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Written by George Harrison
Recording • DDSI.9.93 • 0:22
Performed by : George Harrison
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Recording • DDSI.9.94 • 0:10
Performed by : Paul McCartney • John Lennon
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Written by George Harrison
Recording • DDSI.9.95a • 0:18
Performed by : George Harrison
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Recording • DDSI.9.95b • 0:53
Performed by : Paul McCartney • John Lennon
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Written by Joe Turner
Recording • DDSI.9.96 • 2:13
Performed by : Paul McCartney • John Lennon
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
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Written by George Harrison
Recording • DDSI.9.97 • 0:59
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Written by George Harrison
Recording • DDSI.9.98 • 2:46
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Written by George Harrison
Recording • DDSI.9.99 • 0:33
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Hitch Hike
Recording • DDSI.9.100 • 0:48
Performed by : George Harrison
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Written by George Harrison
Recording • DDSI.9.101 • 1:53
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Written by George Harrison
Recording • DDSI.9.102 • 3:31
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"Quit Your Messing Around"
Recording • DDSI.9.103 • 0:37
Performed by : John Lennon
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Instrumental
Recording • DDSI.9.104 • 0:34
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All Together Now
Recording • DDSI.9.105 • 0:08
Performed by : John Lennon
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Ramblin' Woman
Recording • DDSI.9.106 • 3:19
Performed by : George Harrison
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I Threw It All Away
Recording • DDSI.9.107 • 2:14
Performed by : George Harrison
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Mama, You Been On My Mind
Recording • DDSI.9.108 • 2:26
Performed by : George Harrison
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
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Recording • DDSI.9.109 • 8:40
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
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Recording • DDSI.9.110 • 16:39
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Recording • DDSI.9.111 • 1:52
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Recording • DDSI.9.112 • 2:26
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Recording • DDSI.9.113 • 2:12
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Written by Buddy Holly, Jerry Allison
Recording • DDSI.9.114 • 2:59
Performed by : Paul McCartney • John Lennon
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Recording • DDSI.9.115 • 0:25
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Written by Richard Penniman / Little Richard, Enotris Johnson
Recording • DDSI.9.116 • 2:26 • Medley with "Slippin' And Slidin'"
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
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Written by Richard Penniman / Little Richard, Edwin Bocage, Al Collins, James Smith
Recording • DDSI.9.116 • 2:26 • Medley with "Jenny, Jenny"
Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison
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Recording • DDSI.9.117 • 3:58
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Recording • DDSI.9.118 • 20:08
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Recording • DDSI.9.119 • 2:56
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Recording • DDSI.9.120 • 1:26
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Recording • DDSI.9.121 • 2:13
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Recording • DDSI.9.122 • 7:23
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Recording • DDSI.9.123 • 3:31
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Recording • DDSI.9.124 • 3:43
Staff
Musicians
- Paul McCartney : Performed by
- Ringo Starr : Performed by
- John Lennon : Performed by
- George Harrison : Performed by
Production staff
- Mal Evans : Road manager
- Glyn Johns : Recording engineer
- Michael Lindsay-Hogg : Film director
- Kevin Harrington : Roadie
- Tony Richmond : Director of photography
