Get Back sessions - January 24, 1969 - Day 13

Friday, January 24, 1969 • For The Beatles

Part of

The "Get Back / Let It Be" sessions

January 1969 • Songs recorded during this session appear on Let It Be (Limited Edition)

Album Songs recorded during this session officially appear on the Let It Be (Limited Edition) LP.
Timeline More from year 1969
Apple Studios, 3 Savile Row, London

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From Doug Sulpy:

Had Billy Preston been present at the start of this session, The Beatles would have
continued to perfect “Get Back.” Since he was not, “Two Of Us” became the day’s focal
point. The band first attempted to perform the song electrically (as they had during most
of the Twickenham sessions) and then opted to try it acoustically instead. Even though
this new arrangement was clearly still in the rehearsal stage, Glyn Johns preserved a
number of takes on multi-track tape.
This day also saw the professional recording debut of two other songs. The first of
these was Paul’s “Teddy Boy,” a song which he had written the previous year in India
and which he had performed briefly on January 9th. The second was John’s composition/
improvisation “Dig It.”
After Billy Preston’s arrival late in the afternoon they returned to “Get Back,” which
had become the consensus choice for the next Beatles single. George Martin joined Glyn
Johns and Geoff Emerick in the crowded control room as the group made a half-hearted
attempt to record the song. It’s already too late in the day, however, and progress on
“Get Back” will be put off for a couple of days.

From 24 January 1969: Get Back/Let It Be sessions: day 13 (

The bulk of the 13th day of the Get Back/Let It Be sessions was spent working on ‘Get Back’ and ‘Two Of Us’, along with a number of cover versions.

The Beatles finally settled on the delicate folk-rock arrangement for ‘Two Of Us’. One of the day’s takes was included on the 1996 collection Anthology 3, and an alternative one was chosen by Glyn Johns for one of the unreleased Get Back albums.

Another Anthology 3 song, ‘Teddy Boy’, was taken in part from this day’s recordings. The version on the album was an edit of takes from 24 and 28 January, with the segment featuring John Lennon’s barn-dance calls coming from this day. The song was also mixed by Glyn Johns for inclusion on Get Back, although it was eventually re-recorded by Paul McCartney for his 1970 debut album McCartney.

Other McCartney songs attempted on this day were ‘Every Night’ and Hot As Sun. He also played three versions of ‘There You Are, Eddie’, which was never released by him nor The Beatles; the song was written in December the previous year for Beatles biographer Hunter Davies, while McCartney was staying at his home in Portugal.

Lennon played slide guitar on performances of both Get Back and ‘Her Majesty’, the latter lasting more than two minutes but featuring no more lyrics than the Abbey Road version. He also played ‘Polythene Pam’ for the only time during the January 1969 sessions.

He also played slide on ‘Dig It’, which at this stage was a blues-rock song with ad-libbed vocals. Four versions were performed; after one came a snippet of speech used on the Let It Be album: “That was ‘Can You Dig It’ by Georgie Wood, and now we’d like to do ‘Hark The Angels Come’.”

Also on the album was ‘Maggie Mae’, one of two versions played on this day. This was a song from the Quarrymen era, as was a Lennon-McCartney composition, ‘Fancy My Chances With You’, which was included on the bonus Fly On The Wall disc that came with early copies of Let It Be… Naked.

George Harrison’s songs barely got a look in, apart from the unreleased ‘Window, Window’, which had previously been played on 21 January. He would attempt to interest The Beatles in the song on the following two days, but it remained unreleased.

Of the cover versions performed on this day, six were by Chuck Berry. Lennon sang lead vocals on Arthur Alexander’s ‘Soldier Of Love’, which The Beatles had recorded for BBC radio in 1963, and the McCartney-led version of ‘Singing The Blues’ would have been a contender for the Get Back album but for technical problems with the recording and some erratic slide guitar by Lennon.

I loved [Teddy Boy], and I was hoping they’d finish it and do it, because I thought it was really good. But my version does go on a bit, and they’re just going round and round, trying to get the chord sequence right, I suppose, and the best bit is where John Lennon gets bored – he obviously doesn’t want to play it any more, and starts doing his interjections.

Glyn Johns – The Record Producers, BBC radio

I remember one tune he played for me in Portugal, which he had written on the lavatory (he rarely went there without his guitar), which was called ‘There You Go Eddie’. Just a short verse, and I don’t think he ever completed it. He had discovered that my first Christian name is Edward, something I’ve always kept quiet.Hunter Davies, 1985

Hunter Davies, 1985

Get Back

On the following day at Apple Studios, January 24th, 1969, The Beatles ran through “Get Back” a total of 21 times, some of which were performed before Billy Preston’s mid-afternoon arrival. Thereafter, they ran through a rendition where John missed his cue to begin his first guitar solo, which prompted Paul to exclaim, “Yeah…or should I say ‘No.’” Another version started off at a very rapid pace and developed into a medley with “Little Demon” by Screamin’ Jay Hawkins and three Chuck Berry songs, namely “Maybelline,” “You Can’t Catch Me” and “Brown Eyed Handsome Man.”

One new development in the arrangement on this day is the inclusion of a coda after the song’s conclusion, this being experimented with reprises of different lengths. In fact, some of the renditions rehearsed on this day show them going into back-to-back versions of the song with many spirited vocal improvisations from Paul. The final version of the day has Paul exclaiming, “Go Home!… It’s Passed Seven!… Go Home!…I’ve Got An Appointment!… Get A Job!… Go Home, Yank!” Interestingly, while listening back to recordings of the song on this day in their control room, George Harrison asked the others what their last single was and how long ago it was released. When Paul answered it was “Hey Jude” and it was roughly five months ago, George suggested, “It’d be nice to do takes until we get it and just have it (out) before the show…Just put it out as a single next week.” John showed that he was on board, stating, “Let’s finish it off for a single tomorrow, and we’ll do ‘Part Two’ on the backside!” With this decided, nixing John’s idea to put “Get Back (Part Two)” on the b-side, they had a definite goal for their next session.

From Facebook – 24 January 1969 Photo by Ethan A. Russell © Apple Corps Ltd. (
From Facebook – 24 January 1969 Photo by Ethan A. Russell © Apple Corps Ltd. (
From Facebook – 24 January 1969 Photo by Ethan A. Russell © Apple Corps Ltd. (
From Facebook – 24 January 1969 – Photo by Ethan A. Russell © Apple Corps Ltd. (

Last updated on December 22, 2021

Too bad, there is no song listed for this session. Help us fill the track list for this session by writing a comment!

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

The Beatles Bible

If we like to think, in all modesty, that the Paul McCartney Project is the best online ressource for everything Paul McCartney, The Beatles Bible is for sure the definitive online site focused on the Beatles. There are obviously some overlap in terms of content between the two sites, but also some major differences in terms of approach.

Have a look at


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