Wednesday, January 22, 1969
The "Get Back / Let It Be" sessions • Day 13
For The Beatles
Last updated on March 26, 2025
Wednesday, January 22, 1969
For The Beatles
Last updated on March 26, 2025
The "Get Back / Let It Be" sessions
January 2-31, 1969 • Songs recorded during this session appear on Let It Be (UK - 1st pressing with "Get Back" book)
Recording studio: Apple offices, 3 Savile Row • London • UK
Article Jan 21, 1969 • Paul McCartney's 1961 Höfner 500/1 bass is last seen
Session Jan 21, 1969 • The "Get Back / Let It Be" sessions • Day 12
Session Jan 22, 1969 • The "Get Back / Let It Be" sessions • Day 13
Session Jan 23, 1969 • The "Get Back / Let It Be" sessions • Day 14
Session Jan 24, 1969 • The "Get Back / Let It Be" sessions • Day 15
AlbumSome of the songs worked on during this session were first released on the "Anthology 3" Official album
On this day, The Beatles continued the “Get Back” sessions at Apple Studio in London. This marked the second day at their new studio and the 13th day overall for the project.
The day proved pivotal, due to the arrival of a special guest, Billy Preston, who would profoundly influence the tone of the remaining sessions.
Billy Preston first met The Beatles in Hamburg in the early 1960s. He was in London for some concert and TV appearances with Ray Charles. George Harrison encountered him and invited him to the Beatles sessions. Preston joined the band after lunch, contributing electric piano and keyboards. His playing immediately enhanced the sound of the sessions, particularly as the project continued to adhere to a strict “no overdubs” rule. His presence also had an energizing effect on the group, encouraging them to play with renewed focus and enthusiasm. For a time, the earlier tensions of the Twickenham sessions seemed a distant memory.
For this session, The Beatles concentrated their efforts on three songs: “Don’t Let Me Down,” “I’ve Got A Feeling,” and “Dig A Pony.” Repeated rehearsals, recordings, and playbacks of these tracks formed the core of the day’s work. Preston quickly adapted to the material, inspiring the band to push themselves creatively. Versions of “I’ve Got A Feeling” and “Dig A Pony” from this session were released on “Anthology 3” in 1996.
A take of “Don’t Let Me Down,” and different takes of “I’ve Got A Feeling,” and “Dig A Pony,” from this day were also selected by engineer/producer Glyn Johns for his “Get Back” album, though the project was ultimately shelved until its release on the 2021’s “Let It Be” 50th anniversary reissue.
The band also dabbled in cover songs, far less than in the previous sessions, showing a greater focus on recording their new songs. Attempts included Fats Domino’s “I’m Ready” (also known as “Rocker”) and “Save The Last Dance For Me,” both of which Glyn Johns included in the multiple iterations of his “Get Back” album.
As the day progressed, the improved working environment at Apple Studio, combined with Preston’s contributions, reinvigorated The Beatles. The idea of a live performance remained alive, with discussions of potential venues such as London’s Primrose Hill. For now, the band seemed to be rediscovering some of their creative synergy, leaving behind the discord of earlier sessions.
The Beatles returned to Apple Studio the following day.
When I got there, they were filming Let It Be and recording and all. We started reminiscing and playing old rock’n’roll songs. They said: “Sit in. You want to stay and help us finish the album? Take a solo…” They just made me a member of the band.
Billy Preston – Quoted in Classic Rock, May 2020
I was on tour with Ray Charles and we were in London. George was at the concert and thought: “Hey, that looks like Billy Preston.” So he called around and found out that it was me. He called me at the hotel and invited me over to see the guys. Before I got there, Mal Evans had told me that they had been going through a lot of depression, and that he was glad that I came around because it gave them a lot of life. It made them happy a little bit.
Billy Preston – Quoted in Classic Rock, May 2020
Billy came down and I said, ‘Remember Billy? Here he is – he can play the piano’. He got on the electric piano, and straight away there was 100% improvement in the vibe in the room. Having this fifth person was just enough to cut the ice that we’d created among ourselves. Billy didn’t know all the politics and the games that had been going on, so in his innocence he got stuck in and gave an extra little kick to the band. Everybody was happier to have somebody else playing and it made what we were doing more enjoyable. We all played better and that was a great session. It was more or less just as it is on the record.
George Harrison – From “The Beatles Anthology” book, 2000
It was still very strained, the atmosphere, and then Billy Preston walked into the office. I just grabbed him and brought him down to the studio, and said, ‘How would you like to play piano?’ And it put everything more at ease, because, having a fifth person there, it sort of off-set the vibes.
George Harrison – From “The Beatles: Off the Record” by Keith Badman, 2008
I pulled in Billy Preston. It helped because the others would have to control themselves a bit more. John and Paul mainly, because they had to, you know, act more handsomely. It’s interesting to see how people behave nicely when you bring a guest in because they don’t want everyone to know that they’re so bitchy.”
George Harrison – From “Recording the Beatles : The Studio Equipment and Techniques Used to Create Their Classic Albums” by Kevin Ryan & Brian Kehew, 2006
It’s interesting to see how people behave nicely when you bring a guest in, because they don’t really want everybody to know they’re so bitchy… Suddenly everybody’s on their best behaviour.
George Harrison – Quoted in Classic Rock, May 2020
Billy was really special to the band at that time. I think George was very wise for bringing him in, because Billy was a calming effect. They were all really big fans of Billy. He was really important to the whole thing. When they were in the studio, they would play something and Billy would look over at me with his eyes just as big as saucers and go: “Wow, did you hear that?” And they’d turn to Billy and say: “Hey, why don’t you do this here?” and Billy would go: “Wow, that’s great.”
Ken Mansfield, US manager at Apple Records – Quoted in Classic Rock, May 2020
Billy was brilliant – a little young whizz-kid. We’d always got on very well with him. He showed up in London and we all said, ‘Oh Bill! Great – let’s have him play on a few things.’ So he started sitting in on the sessions, because he was an old mate really.
It might have helped us all behave better with one another on the sessions. I think it also created problems, because as The Beatles we’d always just been four people in the band. We were very much a unit — the Four-Headed Monster, I’ve heard us referred to.
So when Billy came in, I think that though we did have to behave ourselves a bit – because it was like having a guest in the house, someone you put your best manners on for – there was a slight worry in the background also that maybe he was joining the group. That kind of thing was happening. So we couldn’t tell whether it was a crack in the whole thing, or whether it was going to be good. It was a little bit puzzling.
But he played great and we all had a great time, so it worked out fine in the end.
Paul McCartney – From “The Beatles Anthology” book, 2000
From beatlesebooks.com:
The following day, January 22nd, 1969, showed keyboardist Billy Preston joining the fray. His appearance fulfilled John’s desire to have a keyboardist on “Don’t Let Me Down.” The mood lifted dramatically at this session, the first song receiving extensive attention being John’s “Don’t Let Me Down.” With Lennon first on organ to help Billy learn the chords, they ran through eighteen rehearsals of the song with John on his usual rhythm guitar, one of which being chosen by producer Glyn Johns for inclusion on his first “Get Back” album incarnation, this being delayed and inevitably shelved for the time being. “They were a very tight unit,” Billy Preston related. “They really worked hard at what they did. Everybody had their parts. That’s the key of a good band, actually. All I had to do was just like float around it.”
As caught on tape, John instructs Ringo to crash a cymbal just before he begins singing in order to “give me the courage to come screaming in.” This version, which was featured in many early bootlegs of the album, features John ad-libbing “she done me good…goody, goody, goody good,” as well as his encouragement,”Hit it, Bill” before the electric piano solo begins and then “Oh, yeah! One more” as his solo is being performed. This rendition concludes with John repeating the title of the song just before some unwarranted cymbal crashes from Ringo followed by John instructing, “Well, ladies and gentlemen, we’d like to change the tempo a little,” John then demonstrating a fast paced rhythm guitar.
From beatlesebooks.com
From beatlesebooks.com:
January 22nd, 1969 was their second day of rehearsals at Apple Studios. This was the first day that keyboardist Billy Preston was present in the studio, although he didn’t arrive until late morning after The Beatles had already worked extensively on “I’ve Got A Feeling.” They ran through the song a total of 29 times during this session, Billy Preston only contributing to a couple extended versions later in the day. “I’ve Got A Feeling” was, in fact, the very first song Billy played with the group after his arrival, all four Beatles beaming with smiles about how he made the song come alive, as seen in Peter Jackson’s “Get Back” series. “You’re in the group!,” John Lennon immediately stated after this first rehearsal completes, Paul humorously asking, “Do you play violin?” just before the day ended. Interestingly, Billy grew to love the song enough to eventually record his own version later that year for his second Apple album “Encouraging Words,” which was released on September 11th, 1970.
As for the progress of the arrangement of The Beatles’ rendition of the song, one refinement they decided upon on this day was to reduce the amount of ascending and descending chord patterns they played at two places in the arrangement, once after John’s verse and then at the conclusion of the song. Instead of four repetitions of this on each occasion, they now decided to only play it once when it first occurs and three times at the end.
Before Billy Preston’s arrival, the group experimented with softening the tone of the song by playing it with a more country & western swing tempo to “get more feeling.” The laid-back atmosphere on this day shows itself in many ways, one of which is John’s singing “I had a dream” and “I had a dream this afternoon” several times during the rehearsals of this song. Both John and Paul had watched a TV program the following evening entitled “Deep South,” the subject matter concerning race relations in Mississippi with segments of famous Martin Luther King Jr. speeches featured, such as his famous August 28th, 1963 “I had a dream” Washington DC speech. John and Paul had been discussing this during this day’s session, leading to a playful Lennon including a bit of Dr. King’s famous speech within the takes of “I’ve Got A Feeling” from time to time, as well as them both attempting to quote from the speech in between takes.
One of the better takes of the song on this day with Billy Preston on keyboard especially caught the ear of engineer Glyn Johns, even though this version fell apart just before the final verse, thus omitting the synchronized Lennon / McCartney lead vocals. Nonetheless, this take was very impressive despite John not quite performing his descending guitar notes at the end of the bridge as intended, something they also worked hard at perfecting on this day. After Paul sings “I’ve got a feeling” in the third verse, John answers “yes you have,” the interchange continuing with “that keeps me on my toes,” “on your what?” At the 2:40 mark of this take, John comes to the realization that he was drowning out the others with his guitar. “I cocked it up trying to get loud,” he states after the song falls apart. After Paul agrees, John adds, “Nothing bad though.”
From beatlesebooks.com
From beatlesebooks.com:
On the following day, January 22nd, 1969, The Beatles again worked extensively on “Dig A Pony,” running through 24 versions of the song, some of which were recorded by Glyn Johns. The group was in good spirits on this day with much goofing around being heard on the tapes, John singing a verse on one of these takes in a humorous staccato fashion. John also took some time on this day instructing Ringo on his drum work for the song, focusing on where his cymbals should be emphasized. After listening to a playback of one of the day’s recordings in the control room, John demonstrates to Ringo what he wants the drums to do and tells him to “alternate everything now,” George adding, “really, fill it out a bit.”
One of the recorded takes of “Dig A Pony” on this day appears on the 1996 compilation album “Anthology 3,” which ends with the following dialog:
John: “Shalavat.”
From beatlesebooks.com
Paul: “Shalom” (which is Hebrew for “peace”). “Ah, you see, you see? We improve with time, like a fine wine, really. I’ll put us down as Beaujolais ’62!”
John: “You’re not talking to ‘Ricky And The Red Streaks,’ y’know!” (this being a pseudonym suggested by Paul for when they were to proposing to tour once again).
Paul McCartney produced Mary Hopkin’s first album, named “Post Card“, at the end of 1968. The release was scheduled a month after this particular session, and Paul briefly discussed the imminent release.
Neil thinks they’ll want to print their own in America. It’s like… I don’t like that thing where it goes cheap when it goes to America – and they do the reprint. Because the album’s gonna be called Postcard. By Mary Hopkin. So we’re just getting Valentine’s, the people who make postcards, to put one of them on the cover of the LP. There’s no, sort of, sleeve notes… And just a few pictures of her in it all.
Paul McCartney – From Peter Jackson’s film “The Beatles: Get Back“, 2021
Billy Preston joined the session after lunch, and he was promptly persuaded by John Lennon to join the band for this project. George Harrison then proposed playing the numbers they had so far for Billy to learn them.
John Lennon: Every number’s got a piano part. And normally we overdub it. But this time we wanna do it live.
Billy Preston: Yeah. That’d be nice.
John Lennon: I mean, just live to ourselves… Straight off, one number after the other. And that means having somebody in on it.
George Harrison: If you’d like to do that you’re welcome.
Billy Preston: Sure. Beautiful.
John Lennon: Right. And then you’d be on the album.
Billy Preston: You’re kidding.
John Lennon: Well, that’s good then. We’ve taped a few. The thing is to get some tapes made of what we’ve done, and let him have a listen, take ’em home at night.
George Harrison: He’ll probably pick them up much quicker hearing us play ’em.
Paul McCartney: Yeah, just rehearsing them.
John Lennon: Have you met Billy, George?
George Martin: How do you do, Billy?
John Lennon: That’s George Martin, our A&R man. That’s Billy. We played with him in Hamburg. He was backing Little Richard.
Paul McCartney: In the old days.
From Peter Jackson’s film “The Beatles: Get Back“, 2021
On January 10, 1969, George Harrison walked out of the “Get Back” sessions at Twickenham Film Studios, no longer able to endure the growing tensions within the group. On January 15, he outlined his conditions for returning: the planned live TV special would have to be scrapped, and rehearsals for the new album relocated from Twickenham to Apple’s basement studio. Despite these demands, George agreed to continue being filmed while making the new album. The other Beatles accepted George’s terms.
At this stage, on January 22, the goal of the sessions evolved : the idea of making a commercial film from those sessions, that would become the 3rd Beatles movie, emerged. The film would culminate in a live event. Primrose Hill, a grassy hill with spectacular views across London, was considered.
Michael Lindsay-Hogg: I had a word with Neil. What he indicates is that we’ll do something early next week.
John Lennon: And it’ll be great. Soon as we got them off… We almost know three numbers, actually. I mean, we’ll get it. And the thing is we’ve got Billy now.
Michael Lindsay-Hogg: Is he going to stay with you?
John Lennon: Yeah, well sure. He’s the guy. And that solves a lot. Paul was saying we do the whole show once here, and then maybe go up Primrose Hill, or something.
Michael Lindsay-Hogg: I think do it here and then, like, take a week…
John Lennon: Or we could do half of the LP here and the other half outside. It will be fantastic with this whole build up with bits of paper, and Twickenham, and all that scene. And it will be a movie, you know, not a TV show. It will be the third Beatles movie.
Michael Lindsay-Hogg: If it’s good enough, yeah.
John Lennon: It’s good enough now.
From Peter Jackson’s film “The Beatles: Get Back“, 2021
Michael Lindsay-Hogg: Paul, what I’d like to do now is go and talk to Neil about seeing if Primrose Hill is free. Can I do that?
Paul McCartney: It would be nice almost not to tell ’em.
Michael Lindsay-Hogg: Exactly. That’s why I wanted to do it in Africa. Because you just start playing, and one by one they come, one by one, ten by ten…
Unknown: Well, to me that’s okay. Primrose Hill. And I dig it.
Paul McCartney: And then if it lasts for two days, that will be really good because we’ll all be forced into a time thing and we won’t have another go at it.
Michael Lindsay-Hogg: Right, I agree. I think the second day, in fact, will be the one that will make it.
Paul McCartney:And I bet that would just, sort of, magically then give us the show.
Michael Lindsay-Hogg: So, but just roughly, timewise, you’d say in about a week?
Paul McCartney: Yeah.
From Peter Jackson’s film “The Beatles: Get Back“, 2021
At some point in the session, Peter Brown, the managing director of Apple Corps, approached John to arrange a meeting with controversial American businessman Allen Klein. John requested that the meeting be scheduled for Monday the 27th.
Peter Brown: I’ve spoken with Mr. Klein. He’s coming in Friday. So I don’t think he’ll be here until the end of the day. So, about six o’clock on Friday.
John Lennon: I think… Weren’t we doing something on Friday night?
Yoko Ono: Friday night, yes.
John Lennon: He’s not coming for a day, is he? Can I see him on Monday night?
Peter Brown: Yeah ok.
John Lennon: Tell him we’ll go for dinner.
Yoko Ono: Who’s this?
John Lennon: Allen Klein.
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.
I Shall Be Released
Recording • DDSI.22.01 • 2:14
Performed by : George Harrison
Improvisation
Recording • DDSI.22.02 • 4:49
Paul McCartney : Drums, Vocals
Drum solo
Recording • DDSI.22.03 • 2:01
Paul McCartney : Drums
Written by George Harrison
Recording • DDSI.22.04 • 3:40
Performed by : Paul McCartney • George Harrison
Unknown
Recording • DDSI.22.05 • 1:58
Performed by : John Lennon • George Harrison
Some Other Guy
Recording • DDSI.22.06 • 1:13
Performed by : John Lennon
Unknown
Recording • DDSI.22.07 • 1:25
Performed by : John Lennon
Johnny B Goode
Recording • DDSI.22.08 • 2:48
Performed by : John Lennon
Don't Let Me Down
Recording • DDSI.22.09 • 4:21
Performed by : Ringo Starr • John Lennon • George Harrison
I Shall Be Released
Recording • DDSI.22.10 • 3:37
Performed by : George Harrison
Improvisation
Recording • DDSI.22.11 • 1:29
Performed by : Ringo Starr • George Harrison
Improvisation
Recording • DDSI.22.12 • 1:55
Recording • DDSI.22.13 • 0:22
Recording • DDSI.22.14 • 2:34
Recording • DDSI.22.15 • 4:41
Recording • DDSI.22.16 • 0:04
Recording • DDSI.22.17 • 3:59
Recording • DDSI.22.18 • 1:38
Recording • DDSI.22.19 • 3:14
Written by Alan Wilson
Recording • DDSI.22.20 • 1:58
Performed by : Paul McCartney • Ringo Starr
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Recording • DDSI.22.21 • 5:06
AlbumOfficially released on Anthology 3
Improvisation
Recording • DDSI.22.22 • 0:22
Recording • DDSI.22.23 • 5:34
Recording • DDSI.22.24 • 2:04
Recording • DDSI.22.25 • 2:35
Recording • DDSI.22.26 • 2:15
Recording • DDSI.22.27 • 0:37
Recording • DDSI.22.28 • 2:56
Recording • DDSI.22.29 • 4:04
Recording • DDSI.22.30 • 3:47
Recording • DDSI.22.31 • 5:05
Recording • DDSI.22.32 • 4:49
Recording • DDSI.22.33 • 4:35
Recording • DDSI.22.34 • 4:03
Recording • DDSI.22.35 • 2:46
Recording • DDSI.22.36 • 1:37
Recording • DDSI.22.37 • 1:03
Performed by : Paul McCartney
Recording • DDSI.22.38 • 0:22
Performed by : Paul McCartney
Recording • DDSI.22.39 • 1:42
Performed by : Paul McCartney
Improvisation
Recording • DDSI.22.40 • 1:03
Recording • DDSI.22.41 • 3:00
Recording • DDSI.22.42 • 0:09
Recording • DDSI.22.43 • 6:47
Recording • DDSI.22.44 • 4:13
Recording • DDSI.22.45 • 2:05
Recording • DDSI.22.46 • 1:27
Recording • DDSI.22.47 • 5:48
Recording • DDSI.22.48 • 5:54
A Taste of Honey
Recording • DDSI.22.49 • 0:14
Performed by : George Harrison
Improvisation
Recording • DDSI.22.50 • 1:05
Recording • DDSI.22.51 • 1:46
Performed by : Paul McCartney
Recording • DDSI.22.52 • 0:10
Recording • DDSI.22.53 • 0:13
Recording • DDSI.22.54 • 3:12
Recording • DDSI.22.55 • 2:53
Recording • DDSI.22.56 • 1:32
Recording • DDSI.22.57 • 1:56
Written by Paul McCartney, John Lennon, Fats Domino, Al Lewis, Sylvester Bradford
Recording • DDSI.22.58 • 0:45
AlbumOfficially released on Let It Be (50th anniversary boxset)
Recording • DDSI.22.59 • 1:16 • Medley with "Save The Last Dance"
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
AlbumOfficially released on Let It Be (50th anniversary boxset)
Written by Doc Pomus, Mort Shuman
Recording • DDSI.22.59 • 1:16 • Medley with "Don't Let Me Down"
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
AlbumOfficially released on Let It Be (50th anniversary boxset)
Recording • DDSI.22.60 • 4:05 • On January 26, 1969, Glyn Johns mixed this track along with several others. These mixes were never intended for official release — they served as reference versions to evaluate how the tracks sounded on record and for The Beatles to take home and review.
AlbumOfficially released on Let It Be (50th anniversary boxset)
Improvisation
Recording • DDSI.22.61 • 1:58
Recording • DDSI.22.62 • 1:09
Recording • DDSI.22.63 • 0:42
Recording • DDSI.22.64 • 4:23
Recording • DDSI.22.65 • 2:34
Recording • DDSI.22.66 • 1:11
Recording • DDSI.22.67 • 3:44
Recording • DDSI.22.68 • 4:07
Recording • DDSI.22.69 • 3:27
Recording • DDSI.22.70 • 4:39
Recording • DDSI.22.71 • 0:50
Recording • DDSI.22.72 • 0:30
Recording • DDSI.22.73 • 8:05
Recording • DDSI.22.74 • 4:39
Carol
Recording • DDSI.22.75 • 0:27
Performed by : John Lennon • Billy Preston
Recording • DDSI.22.76 • 1:03
Recording • DDSI.22.77 • 3:45
Recording • DDSI.22.78 • 0:15
Recording • DDSI.22.79 • 0:22
Recording • DDSI.22.80 • 1:27
Recording • DDSI.22.81 • 0:22
Recording • DDSI.22.82 • 0:07
Recording • DDSI.22.83 • 0:11
Recording • DDSI.22.84 • 0:32
Recording • DDSI.22.85 • 0:19
Recording • DDSI.22.86 • 3:45
Recording • DDSI.22.87 • 1:20
Recording • DDSI.22.88 • 5:23
Recording • DDSI.22.89 • 1:56
Recording • DDSI.22.90 • 3:29
Recording • DDSI.22.91 • 0:37
Recording • DDSI.22.92 • 5:14
Recording • DDSI.22.93 • 3:54
Improvisation
Recording • DDSI.22.94 • 2:28
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 Complete Beatles Recording Sessions • Mark Lewisohn
The definitive guide for every Beatles recording sessions from 1962 to 1970. We owe a lot to Mark Lewisohn for the creation of those session pages, but you really have to buy this book to get all the details - the number of takes for each song, who contributed what, a description of the context and how each session went, various photographies... And an introductory interview with Paul McCartney!
The Beatles Recording Reference Manual: Volume 5: Let It Be through Abbey Road (1969 - 1970)
The fifth and final book of this critically acclaimed series, "The Beatles Recording Reference Manual: Volume 5: Let It Be through Abbey Road (1969 - 1970)" follows The Beatles as they "get back to where they once belonged...". Not once, but twice. With "Let It Be", they attempted to recapture the spontaneity of their early years and recordings, while "Abbey Road" was a different kind of return - to the complexity, finish and polish that they had applied to their work beginning with "Revolver" and through to "The Beatles".
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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