Get Back / Don't Let Me Down (UK - Mono)

PAUL MCCARTNEY TO WED ? A ‘FIVE-BEATLE’ SINGLE? STONES ‘BRAIN’ FOR APPLE

[…] BEATLES’ next single may he titled “Get Back” and feature coloured American star Billy Preston in a solo piano spot. It would he the first time another artist had played on one of their recordings.

“Get Back,” a recent Lennon/ McCartney composition, is one of several songs being rehearsed in the Beatles’ Apple basement studio, where Preston has been playing. It is expected to be included on their live album, recorded at the same time as their long-awaited TV show.

Billy Preston, 22, is a friend of John, Paul, George and Ringo since their early days in Hamburg, Germany.

“I was with Little Richard and on the same bill as them for two weeks. Onstage once, George invited me to join in on organ. But I refused because Little Richard would have got mad!”

Preston dropped in at Apple a couple of weeks ago and was invited to join the Beatles “jamming” in the studio.

“They had some good things going. Paul was on piano and invited me to join in. I started playing and we all just fell on into it. The track was called ’Get Back’ and I played solo piano on it. They said then that it was good enough to become their next single.”

But Apple press officer Derek Taylor said: “I don’t think there is a new single yet. But I have heard them talking about this particular song.”

Billy Preston came to Britain last year as a member of the Ray Charles band. He went back to the States on Monday and returns to star in another “Happening For Lulu” TV show (March 8). Says his agent, Larry Kurzon: “Billy is signing with Apple then. They want to record him for a single. He has a number of compositions of his own. And George Harrison is involved in the deal with him.” […]

From Disc & Music Echo – February 8, 1969

LIKELY BEATLES SINGLE – GROUP’S THIRD MOVIE?

The Beatles’ next single is now almost certain to be “Get Back” featuring Paul McCartney as lead vocalist, and with US organist Billy Preston included in the backing. And contrary to previous reports it will be issued before the group’s next album – although a definite release date has not yet been announced.

The group’s new single LP will be issued to coincide with the screening of its TV show, which was filmed during recording sessions for the album. The TV special has now been edited, and will soon be offered to interested parties.

From New Musical Express, March 29, 1969

‘GET BACK’ NEXT BEATLES SINGLE

The Beatles’ next British and American single is to be “Get Back”, a song which features American organist Billy Preston. It has been rumoured that this track was to be the group’s new single, but an Apple spokesman confirmed this at presstime. No release data has been fixed, but it will be released before June.

“The group want to release it by then as they are planning to release their new album then,” said the spokesman.

No firm release data has been decided upon and no B side for the single has been fixed. […]

From Melody Maker, April 5, 1969

BEATLES’ NEW DISC SURPRISE – OUT NOW

An unexpected Easter holiday decision by the Beatles means that the group’s follow-up single is rush-released by Apple today (Friday). As previously reported in NME, the number is an up-tempo raver called “Get Back” and featuring America’s Billy Preston on organ. Paul McCartney takes lead vocal.

The record was made at Apple’s basement recording studios in Savile Row, London, and the original plan was to release it in late April or May. EMI factories are now working overtime on production of the single, but it may be the middle of next week before copies are available in many parts of the country.

After the Beatles’ holiday decision to rush-release the disc, copies were taken to d-j’s John Peel and Alan Freeman who broadcast them at the weekend. However, the group decided on a final re-mixing on Monday night and this is the version that will be available to the public.

B side of “Get Back” single is another Lennon-McCartney composition, a slower number called “Don’t Let Me Down”‘ and this time showcasing John Lennon on vocal.

Both Lennon and McCartney returned from their respective honeymoons last week, and are now songwriting and finalising – with George Harrison and Ringo Starr – details of the Beatles’ next album.

From New Musical Express, April 12, 1968

BEATLES ROCK GETS BACK TO THE BEAT

“Get back to where you once belonged” beseeches the lyric. And the Beatles have taken their own advice, by getting back to their 1964-5 approach. Here we have the group knuckling down to bare essentials, in what is now termed as its “pre-Sergeant Pepper” style.

This is sheer unadulterated rock’n’roll – admittedly rather more polished and clean-cut than emerged in the “Twist And Shout” days, but still dependent almost entirely upon the beat, and without any orchestral clutterings or lengthy fade-outs.

Paul sings with vehemence and spirit, urged on by some frantic Ringo drumming and George’s guitar at its scintillating best – plus, for good measure, a swinging Billy Preston organ break. There’s nothing adventurous or experimental about this track. Just honest-to-goodness pop-rock, stamped with the unmistakable hallmark of the masters.

FLIP: A powerful blues item, reminiscent of the group’s “Yer Blues”. John wails the lyric with a burning intensity, supported by an effectively pungent backing.

From New Musical Express, April 19, 1968

What do you think of The Beatles’ newie ?

WHATEVER else comes and goes in pop music, the depth of sheer anticipation over a new Beatles single never varies. Out this week is their latest, boosted by a blaze of full-page publicity—and, as ever, there is a point of controversy in the end product.

Beatles going backwards, musically? If so, is it deliberate or simply that they can’t go further forward? And how about the “special guest appearance” of American pianist-organist Billy Preston? What’s that all about…

Anyway, believing that there is always room for more than one opinion, we’ve roped in members of Record Mirror’s team to give their personal impressions of:

THE BEATLES: Get Back; Don’t Let Me Down (Apple ?????).

For a start, it’s quite simple. Simple in the basic beat and lyrically. Simple in that it IS a reversion to a rock style, Chuck Berry vintage—that kind of simple beat. But it’s NOT simple in so many other ways… a subtle sort of production with little touches here and there that show up with each successive play. Paul sings and the electronic power of Billy Preston adds a lot mid-way. Don’t knock it without first hearing then… concentrate!

Flip: John sings this one and there’s an odd sort of atmosphere to it—hard to explain. Repetitive, and again Billy Preston adds inventiveness towards the finale. Lennon in authoritative mood and in back-to-the-roots vocal form.

SUE CRAFTS:

“Get Back.” They certainly have gone back with this Chuck Berry influenced number which includes a Stones type break halfway through, that in parts sounds extraordinarily like Mick Jagger. Own up time? I rather think so. Billy Preston plays useful organ to fill out the heavy beat. Very infectious. The type of thing all the Marquee groupies will eagerly add to their repertoire. Definitely not a hit for anyone but the Beatles. All the same I rather like it.

“Don’t Let Me Down.” As the Beatles only release two or three singles a year, couldn’t we expect something more than this quite pleasant but rather mediocre, nondescript B side. It certainly could have been included on “Rubber Soul”. Lennon/McCartney certainly haven’t exerted their writing talents on this record. Rather appropriate titles for both sides and quite disappointing.

REX GOMES:

The Beatles failed last time in their attempt to revive the Rock n’ Roll era with their “Lady Madonna” single. This time, they stand a good chance. Thanks to Billy Preston on piano. Paul for sounding like a typical beat group singer. John with his Chuck Berry Rhythm, George with the Country & Western guitar breaks and Ringo for the train beat on the record.

I much prefer the “B” side “Don’t Let Me Down,” with Lennon sounding real soulful all the way. Could have been a double “A” side single. Either way it stands a good chance of reaching the charts!

DEREK BOLTWOD:

When you ain’t got nothin’ better to do—rock, man, rock. I’ve always thought of the Beatles as being that much further ahead of pop than the rest of the world, so it’s disappointing to see them bring out a single like “Get Back.” Good as it is, it’s just part of the fill-a-space-race. Good for all those club Muzac tapes where trendsetters can mutter into their scotch and cokes “hey man, see Jo-Jo’s made it at last just like Jude.”

It’s good. I don’t object to it, just like I don’t object to early Rolling Stones records. Perhaps that’s the direction we’re heading in. Who knows. I don’t know. God knows.

“Don’t Let Me Down” lets me down.

VALERIE MABBS:

“Get Back” features a “rock-it-to-me” sound reminiscent of days gone by in smoke filled, tightly packed clubs. Repetitive throaty lyrics from Paul, backed up by some bluesy guitar work. Not exactly progressive, more in the “revived 45” idiom, but nevertheless an obviously commercial beaty number.

The flip “Don’t Let Me Down” is again a hark-back to yesteryear, conjuring up visions of the Beatles as healthy young youths. Somewhat disappointing.

LON GODDARD:

Is this supposed to be a double “B” side? A few remnants from “Back In The U.S.S.R.” and a glorious primitive suggestion of big beats-to-come tempo lead to the construction of the backing on “Get Back.” The lyrics roll nicely off the tongue, and of course, the vocals survived, but the whole thing appears to have been recorded somewhere in Bethnal Green Station during a cotton epidemic. Perhaps this is another vestige of the rock and roll pastiche, however, it’s very much less conspicuous than “Lady Madonna.” Hell’s Angels off their motorbikes.

“Don’t Let Me Down” nimbly past mid-century and suddenly at about 1958 when whines and Fabian sneers vogue. An even more a tune with delinquent lyrics must be dedicated to ever first songwriting attempts teenage distress and it won’t any amps.

I know the tongues were in cheeks, but to leave this near other wizardly can near McCartney tracks could care disc to turn magically double “C” side. Poof.

From Record Mirror – April 19, 1969

NO ELECTRONIC WATCHAMACALLIT

The Beatles took a quarter-page advertisement at a cost of £2,000 in the Daily Mirror on Tuesday, April 15, to announce the release of their new single Get Back. The advertisement was headed ‘The Beatles as Nature Intended” and Get Back was described as “‘It’s the first Beatles’ record which is as live as can be in this electronic age”.

The rest of the copy was equally tongue in cheek. “Get Back is the Beatles new single. It’s the first Beatles record which is as live as can be, in this electronic age. There’s no electronic “watchamacaltit’. Get Back is a pure Spring-time rock number. On the other side there’s an equally live number called Don’t Let Me Down. Paul’s got this to say about Get Back . . . “‘We were sitting in the studio and we made it up out of thin air… we started to write words there and then… when we finished it, we recorded it at Apple Studios and made it into a song to roller-coast by’’. P.S.—John adds: It’s John playing the fab live guitar solo. And now John on Don’t Let Me Down. John says don’t let me down about Don’t Let Me Down. In Get Back and Don’t Let Me Down, you’ll find the Beatles, as nature intended.”

From the Beatles Monthly Book, N°70, May 1969

SURPRISE EASTER SINGLE

Telephone switchboards at the Beatles’ Fan Club and Apple offices were jammed with fan calls immediately after Easter weekend following the surprise holiday period radio plays of the new single.

Without advance warning the two Beatles tracks — Paul’s Get Back and John’s Don’t Let Me Down — were rushed to Radio 1 deejays in time for first Easter broadcasts. Apple instantly set an April 12 rush-release date on the single although in most areas first copies reached record stores between five and seven days later.

Explanation of the hasty decision from Apple: “The fellows decided they wanted to have a Spring single so they pulled out two titles which had been intended for the next album. Organist Billy Preston is featured on these recordings for the first time with the Beatles. Otherwise, both tracks are instrumentally like the group’s earliest recordings—in other words, they are the only instrumentalists who play on them.”

From the Beatles Monthly Book, N°70, May 1969