Monday, January 27, 1969
For The Beatles
Last updated on January 27, 2025
The "Get Back / Let It Be" sessions
January 1969 • Songs recorded during this session appear on Let It Be (Limited Edition)
Recording studio: Apple Studios, 3 Savile Row, London
Session Jan 26, 1969 • Get Back sessions • Day 17
Article Jan 27, 1969 • Allen Klein meets with John Lennon
Session Jan 27, 1969 • Get Back sessions • Day 18
Article Jan 28, 1969 • Allen Klein meets with The Beatles
AlbumSome of the songs worked on during this session were first released on the "Get Back / Don't Let Me Down (UK - Mono)" 7" Single
On this day, The Beatles continued their “Get Back” sessions at Apple Studios in London, marking the 7th day at their new studio and the 18th day overall for the project. The session, which ran from around noon until just after 9:00 p.m., focused primarily on the song “Get Back.”
The session began with George Harrison introducing his new composition, “Old Brown Shoe,” which he had written the previous night. He performed it on the piano, and later in the day, he rehearsed the track with Paul McCartney, Ringo Starr and Billy Preston after John Lennon stepped out to grab some food. This was the band’s first attempt at the song, which would later be released as the b-side to “The Ballad of John and Yoko.”
The session progressed with rehearsals of Paul’s “Let It Be” and “The Long And Winding Road,” but the takes of these songs were not particularly successful and not captured on multi-track. They then shifted focus to John’s “Don’t Let Me Down.” Despite several takes, none were considered refined enough to move forward. There were also attempts at “Oh, Darling,” a track that would later appear on the “Abbey Road” album, one of which was released in an edited form on “Anthology 3” in 1996.
The latter part of the session was dedicated to “Get Back,” with the band recording 32 takes. They experimented with different tempos and styles, including a playful mock German version and a take featuring Japanese characters. One of John Lennon’s famous ad-libs — “Sweet Loretta Fart, she thought she was a cleaner, but she was a frying pan” — was recorded during the warm-up and made its way onto the “Let It Be” album. One of the takes from this session would later be used for the single version, released in April 1969, as well as the version on the “Let It Be” album in 1970. However, this take lacked the iconic coda, which was recorded on January 28.
As the session came to a close, the band made several attempts at “I’ve Got A Feeling,” one of which would be mixed by Glyn Johns for his “Get Back” album in March 1969.
On January 25, The Beatles and their entourage conceived the idea of performing a rooftop concert at the Apple building (tentatively scheduled for Wednesday, January 29) to serve as the climax of the upcoming film, directed by Michael Lindsay-Hogg, documenting those sessions. Practical arrangements were made on this day, including discussions about renting a helicopter to film the performance and engineers evaluating the need to reinforce the roof to support both the band and the audience.
In the evening, John and Yoko Ono met with American businessman Allen Klein at the Dorchester Hotel in London. Impressed by Klein, John immediately decided to appoint him as his personal adviser. The other Beatles would meet with Klein the following day.
January 27: “Today we had the engineer to look at the roof of No. 3. 5lbs sq. in is all it will take weight wise. Needs scaffolding to make platform. Getting helicopter for shot of roof. Should get good shot of crowds in street, who knows police might try to stop us. Asked Alistair [Taylor, Apple office manager] to get toasted sandwich machine.”
Mal Evans – From his diary – From Here, there and everywhere (thetimes.co.uk), March 20, 2005
About “Let It Be”, from beatlesebooks.com:
Twelve more versions of “Let It Be” were performed with Billy Preston the following day, January 27th, 1969 at Apple Studios. The final arrangement was pretty set by this time, although they did some experimentation on this day. On some versions, George and John played some guitar and bass riffs during the early part of the song, while Billy experimented with some different organ parts, even substituting electric piano instead of organ. After one particular soulful electric piano rendition, Paul remarks, “Of course, coming from the North of England, it doesn’t come through easy in all the soul,” which prompts a laugh from Billy. George also took some time to work through a lead guitar part during the song’s final chorus. Since Paul still didn’t have the lyrics to the final set of verses written, he would sometimes sing scat vocals, John even adding what Bruce Spizer describes in his book “The Beatles On Apple Records” as “inappropriate vocal ad-libs, perhaps out of boredom.”
After the “f bit” is played in one rehearsal, as wtinessed in the “Get Back” documentary series, Paul states, “It’s a bit ploddy.” “What?” John asks, to which, Paul replies, “it just sorts of plods along a bit.” John explains, “It’s just morning and slow; and a slow song. It takes a long time to get out of it.” Paul relented by saying, “That’ll do for the time being” before moving on to “The Long And Winding Road,” which he also wasn’t feeling inspired by on this day. At any rate, with the time frame to complete the project nearing its end, all that was left was for Paul to complete the lyrics. Otherwise, everyone pretty much had their parts perfected.
From beatlesebooks.com
About “The Long And Winding Road“, from beatlesebook.com:
On January 27th, 1969 at Apple Studios, after Paul was feeling a bit down after their attempts at his song “Let It Be,” he thought to change gears and put in more work on his other ballad for the project, introducing the tune as “The Wrong And Winding Box.” Paul led the group through six rehearsals of the song which were described by Bruce Spizer in his book “The Beatles On Apple Records” as “a few deliberately off-the-wall performances, including one in which John did most of the singing and Paul mimicked Al Jolson.” Afterwards, a decision was made to record a serious attempt to see if they could better the one from the previous day. It featured Ringo using brushes, many times performing fast snare drum rolls, while John came in on backing vocals twice during the lines “still they lead me back.” Thereafter, Paul’s discouraged mood continued. “It’s like the other one,” Paul stated in reference to “Let It Be.” “Slow, ballady and like they’re plodding a bit…I can’t, sort of, think how to do this one at all, y’know. My mind’s a blank on it. I don’t know. Dunno. Give up!” They moved directly into working on other songs, including recording the official released version of “Get Back,” which lifted morale very nicely.
Interestingly, in the control room at the end of the day, Paul stated that “the two slow ones, ‘Mother Mary’ and ‘Brother Jesus,’ they haven’t happened yet,” meaning that neither “Let It Be” nor “The Long And Winding Road” had been recorded properly yet. Glyn Johns, however, was still pushing for using the January 26th, 1969 recording of “The Long And Winding Road” as he had done the previous day. “I think it’s very tasty,” Glyn Johns explains, Paul replying, “Oh, the little version we…?” “I’m not saying you can’t do it better, I’m saying it’s very together,” Glyn Johns insists. As stated above, Glyn Johns got his way in the end, whether Paul liked it or not.
From beatlesebook.com
About “Get Back”, from beatlesebooks.com:
Thirty-two renditions of “Get Back” were recorded on January 27th, 1969 at Apple Studios, most of them being officially recorded by George Martin and engineers Glyn Johns and Alan Parsons. Before the tapes began rolling, The Beatles and Billy Preston ran through the song a few times for rehearsal purposes, eventually becoming confident that they were ready to record the definitive version. Interestingly, as seen in Peter Jackson’s “Get Back” series, John is seen here slapping this guitar strings during the introduction, this part of the song strategically increasing in volume as it progressed. One fast tempo rendition was done with Paul singing the first verse in mock Japanese but including the phrase “sock it to me,” a residual from their current obsession with the American TV show “Rowan & Martin’s Laugh In,” which had been referenced many times in the January 1969 rehearslas and recording sessions.
The tapes then began rolling, many good takes being recorded. After a roughly estimated “take 9,” which may in actuality have been “take 18,” Paul’s exclamation “nearly” is caught on tape, suggesting that they were getting close. McCartney’s vocal hijincs on this day may be an indication of his being under the influence of some substance or another, but the knowledge that a releasable take was recorded on this day is an indication that this ended up being a good idea in the long run.
After varying guitar solos from John and slight tempo alterations per George Martin’s and Paul suggestions, this was a suitable atmosphere to achieve an acceptable master take. On the coda of one rendition, Paul sang “it’s five o’clock, your mother’s got your tea on, take your cap off, sit down, you’re bloody not coming in.” On another take, the coda included Paul’s ad lib “one, two, three o’clock, four o’clock rock” from Bill Haley’s ‘Rock Around The Clock.” Nonetheless, the definitive single and album version was eventually recorded on this day.
Just before this performance began, John humorously remarked, “Sweet Loretta Fart (pronounced in a Liverpudlian accent) she thought she was a cleaner, but she was a frying pan…picks with his fingers.” This vocal segment, along with extraneous studio sounds, was included on the released soundtrack album. The take that followed this statement ended up becoming the basis for both the single and album, although the rehearsed coda was not played due to Ringo forgetting to come back in after the break near the song’s conclusion. After Paul sings his iconic “oooh,” George states, “We missed that end, didn’t we?” “I thought you were going on,” George Martin stated, adding, “Do you want to end it like that?” Ringo replied, “Just Plug it on – the best end we did.”
Although this flubbed ending propelled them into multiple new recorded versions of the song, the above mentioned take was ultimately deemed the best. One of the later recordings included a rendition donning pseudo-German lyrics throughout, acknowledging the Jackie Lomax influence with the phrase, “Yah, that’s good, Jackie,” with a final verse in mock French. While very entertaining and eventually gracing various bootleg releases, it was obvious that they had previously recorded the definitive version of the song on this day and were celebrating that event in a rather unconventional way.
From beatlesebooks.com
The day started with some casual conversations.
From a moral to this song (tumblr.com):
January 27th, 1969 (Apple Studios, London): As producer Glyn Johns grouses about having been apprehended by the police on a petty driving charge (and causing him to be late to arrive in the studio), Paul commiserates and humorously shares his own peeved exchanges with policemen on the road.
PAUL: Let me take you down, ‘cause I’m going to…
GLYN: Can you believe that bleeding copper! [stuffy voice] “Oh, alright, I’ll have to report this, you know, anything you say will be taken down,” and it went through all that!
JOHN: Have you got a fag?
GLYN: Yeah.
PAUL: I had a terrible scene the other day on the motorway with a copper. ‘Cause they stopped me, and I – I don’t like it, getting stopped by police. I always get – I get obnoxious with them, you know. [Yoko laughs] ‘Cause I’ll just sort of check around to see if I’m in the right, and once I know I am, and they’ve stopped me, I get very… But they just stopped me because I was hogging the outside lane, and you’re not supposed to do that. So he said, “You did, you know.” You’re going seventy. You’ve got to stay out there, but you’re not supposed to get back in. So he stopped me, and then it really got sort of nasty after a bit. ‘Cause Linda just had her hand round the back of my head, and then he said, “You can’t possibly be in – in control!”
YOKO: [laughs] Oh, no.
PAUL: “You see how that young lady was fondling the back of your neck…” [uproarious laughter] And I said, “Oh, what’s up with you, then? Don’t you get it?” [laughter] You know, and it got really like that. “Oh! You can’t book me for that, Constable!” You know, it got really sort of… “Oh, can’t I!” [laughter] And of course, my tax. [laughs] They got me. My tax wasn’t up to date and all.
JOHN:
Don’t they just do it at the office for us?
PAUL: No.
JOHN: Oh. I probably haven’t had one done since I started, then. [laughter]
PAUL: They keep doing that. I was going through Mersey Tunnel, and they keep stopping me in the Mersey Tunnel ‘cause they see you and they just want an autograph. So I sort of thought, “Right, this time, they’re not going to stop me.” And a fella comes up, and I just – all the way through the tunnel, I did thirty. Just saw him in the mirror all the time. I thought, “You… you’re going to stop me at the end and ask me for an autograph.”
So he just sort of drives in front of me waves me down, so I’m just — ah! [laughter] – crash in with him and say, “No, no, I have no time, no time!” And he just… [grumbling] So he stopped me and said, “… Your tax.” [laughter] Yeah. I can’t stand that, I really go sort of funny with police. You know, police [inaudible] when nothing’s been done, fighting against them before they’ve got me for anything. I don’t like it.
From a moral to this song (tumblr.com)
From a moral to this song (tumblr.com):
January 27th, 1969 (Apple Studios, London): A chipper George is the last to arrive at the studio while the rest of the group is having breakfast. He tells the group that he was up the previous night writing a song (prompting John to reveal that he’s been having trouble sleeping himself), in mind of John’s old advice to finish a song within the time you start writing it. This, in full awareness of John’s own less-than-disciplined creative process, incites knowing laughter from the group. (Note: The song George wrote was ‘Old Brown Shoe’.)
JOHN: I have a complaint as a director of Apple – no bog paper.
PAUL: Oh yeah? [Yoko laughs]
JOHN: Terrible disgrace.
PAUL: They’ve got [it in] pink upstairs.
JOHN: Have they?
PAUL: Yeah. [George arrives]
JOHN: Hi.
PAUL: Hi, George.
GEORGE: Hello, how are you? Happy new year!
JOHN: [joking] George’s just come from a party too.
GEORGE: [laughs] Yeah, I thought…
JOHN: Two hours extra sleep [inaudible].
GEORGE: Oh, I didn’t, I went to bed very late. I wrote a new song, actually.
JOHN: I couldn’t sleep.
GEORGE: I wrote a great song actually.
JOHN: About what? [taps out a familiar rhythm in question]
GEORGE: No, though – oh that, no, I just played with that bit. Just – a different one, altogether. Very exciting. [laughs]
JOHN: It’s such a high when you get home.
YOKO: Mm.
GEORGE: Happy. Happy, and a rocker…
PAUL: Yeah?
GEORGE: Happy and a rocker! [laughs] Too much.
…
JOHN: Well, it’s just so high when you get in at night.
GEORGE: Yeah, it’s great, isn’t it? [laughs]
JOHN: I just – you know, that bit like on acid, where you see a little hand miles away.
PAUL: Mm.
JOHN: I was just sitting there listening to the last bit. [stage whisper] “Help! What if I have? What if I haven’t, today?” [laughter] You know, “[inaudible] Do they have anything?”
YOKO: You should just try in general.
JOHN: I just can’t sleep! I just— [starts making garbled noises and sounds] You know. “I’m a feeling a little thing here…” [makes the sound of a trumpet blaring; laughs]
GEORGE: Uh, I keep thinking, “Oh, I’ll just go to bed now,” and then I keep hearing your voice from about ten years ago saying, “Finish ‘em straightaway. As soon as you start ‘em, you’ve got finish it too.” [pause] You once told me it was best to finish a song, so I was just there to… [uproarious laughter]
JOHN: [laughs] But I never do it, you know. I can’t do it. But I know it’s the best.
PAUL: Yeah.
From a moral to this song (tumblr.com)
From a moral to this song (tumblr.com):
January 27th, 1969 (Apple Studios, London): Over breakfast, John shows Paul a book he’s had compiled of the various press articles covering John and Yoko’s You Are Here art show. Paul reads aloud from some of the articles to the amusement of John and Yoko.
PAUL: “Beatle John Lennon hugged actress Yoko Ono last night and said, ‘My marriage is over. I am in love with Yoko. Of course my wife and I are not through legally—’”
JOHN: That they put “actress” is great.
YOKO: [laughs] No, they thought I performed in the Bottoms film. [laughter] They took it so seriously…
JOHN: Said it seriously.
PAUL: “How much does he love Yoko? ‘Much more than I love the Queen.’” [laughter; Paul hums]
JOHN:
The layout of the book’s really good though, the way he’s done it.
PAUL: This – is this the layout?
JOHN: No, this is just the bit – that bit, you know. Because he’s gonna have that folding out of the book, sheets, like, because – to get them all together. But it’s just, you know. The packaging is great.
PAUL: It’s good, yeah. Great. [inaudible; continues reading articles aloud]
?: What else is there?
JOHN: There’s hundreds of things, you know, this is just the press part of it. There’s all the letters I got, and the photos of the exhibition, and – yeah.
?: Oh, just this topic.
JOHN: Yeah. The whole You Are Here book, you know. Book of the film of the video.
?: And the policeman. Is that included in the film? The statement—
JOHN: No, no. This is just – just that one day. Reaction to one day.
YOKO: It’s amazing, isn’t it? Just for that one day.
PAUL: Yes.
JOHN: But it’s just great you know, it’s sort of like what we’re doing now. We’re doing a show, and then you bring in a book of the show—
PAUL: Yeah.
?: Who’s doing it?
JOHN: Uh, publishing it?
?: Yeah.
JOHN: Cape. That’s what I think—
YOKO: That’s what – I think that’s where we’re going with, Cape.
JOHN: Yeah, I’m gonna go to Cape.
PAUL: Is there a next book that you’ll be expecting?
JOHN: Yeah, but I owe it [inaudible] in the contract.
PAUL: Oh, indeed. Great.
JOHN: So they’ll have to pay for it, and it’s expensive. The other one’s cost nothing to do.
?: Who does this for you?
YOKO: Oh, the [inaudible] or something.
?: Oh, you have a [clipping] service, do you? Yeah, great.
From a moral to this song (tumblr.com)
Later in the day, Michael Lindsay-Hogg mentioned the idea of renting a helicopter, for the live performance on the roof:
Michael Lindsay-Hogg: The show on Wednesday, which is up on the roof, we can get, uh, no worse than a 4-shot on the roof out toward London, which I think is worth it.
John Lennon: Yes. How much does it cost?
Michael Lindsay-Hogg: Between a thousand and twelve hundred.
John Lennon: Well, just send the helicopter up. No film. It’s too much, film and a helicopter. Uh, what do you say, lads? Have it on Paul!
Ringo / Michael / Yoko: Yeah.
Michael Lindsay-Hogg: Is that a yes?
Paul McCartney: That’s a no-no.
From Peter Jackson’s film “The Beatles: Get Back“, 2021
Another great card from Paul. 1969 — by now everything was tough except the moments when we played and that was the saving grace. Once the music started we were always okay because we still did our best. Then afterwards there would be lots of heated discussions. Maybe this is before we had the big meeting at Brookfields where we asked George to come back to The Beatles after he’d left when Paul had really, really pissed him off at Twickenham.
Ringo Starr – From “Postcards from the boys” by Ringo Starr, 2004 – Commenting on a postcard dated January 27, 1969
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.
Instrumental
Recording • DDSI.27.01 • 4:21
Recording • DDSI.27.02 • 2:20 • With Paul McCartney on vocals
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Old Brown Shoe
Recording • DDSI.27.03 • 14:23
Performed by : George Harrison
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison, Billy Preston
Recording • DDSI.27.04 • 7:04
Written by Arthur Gunter
Recording • DDSI.27.05 • 1:20
Recording • DDSI.27.06 • 7:46
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Recording • DDSI.27.07 • 3:59
Recording • DDSI.27.08 • 3:14
Recording • DDSI.27.09 • 2:02
Recording • DDSI.27.10 • 4:02
Recording • DDSI.27.11 • 3:29
Recording • DDSI.27.12 • 4:09
Recording • DDSI.27.13 • 4:04
Recording • DDSI.27.14 • 3:55
Recording • DDSI.27.15 • 1:34
Recording • DDSI.27.16 • 2:35
Recording • DDSI.27.17 • 3:56
Recording • DDSI.27.18 • 1:43
Recording • DDSI.27.19 • 17:00
Recording • DDSI.27.20 • 7:20
Written by Screamin' Jay Hawkins, Irving Nahan
Recording • DDSI.27.21 • 1:42
Performed by : Paul McCartney
Recording • DDSI.27.22 • 1:42
Recording • DDSI.27.23 • 3:52
Recording • DDSI.27.24 • 1:14
Written by Doc Pomus, Mort Shuman
Recording • DDSI.27.25 • 0:38
Improvisation
Recording • DDSI.27.26 • 0:53
Written by George Harrison
Recording • DDSI.27.27 • 36:04
Performed by : Paul McCartney • Ringo Starr • George Harrison • Billy Preston
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Improvisation
Recording • DDSI.27.28 • 4:59 • This improvisation is followed by a one-hour break to eat dinner.
Performed by : Paul McCartney • Ringo Starr
Written by Tommy Tucker
Recording • DDSI.27.29 • 1:43
Recording • DDSI.27.30 • 1:15
Improvisation
Recording • DDSI.27.31 • 0:22
Improvisation
Recording • DDSI.27.32 • 6:31
Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison, Billy Preston
Recording • DDSI.27.33 • 5:43
Improvisation
Recording • DDSI.27.34 • 0:42
Recording • DDSI.27.35 • 2:46
Hava Nageilah
Recording • DDSI.27.36 • 4:13
Recording • DDSI.27.37 • 5:21
Recording • DDSI.27.38 • 5:46
Recording • DDSI.27.39 • 3:41
Recording • DDSI.27.40 • 4:21
Recording • DDSI.27.41 • 3:17
Recording • DDSI.27.42 • 2:25
Recording • DDSI.27.43 • 0:50
Recording • DDSI.27.44 • 3:13
Recording • DDSI.27.45 • 1:00
Recording • DDSI.27.46 • 4:54
Recording • DDSI.27.47 • 2:08
Recording • DDSI.27.48 • 3:20
Recording • DDSI.27.49 • 1:46
Recording • DDSI.27.50 • 3:43
Recording • DDSI.27.51 • 3:20
Recording • DDSI.27.52 • 4:09
Recording • DDSI.27.53 • 4:41
Recording • DDSI.27.54 • 2:03
Recording • DDSI.27.55 • 2:10
Recording • DDSI.27.56 • 6:56
AlbumOfficially released on Anthology 3
Recording • DDSI.27.57 • 1:04
Recording • DDSI.27.58 • 4:10
Recording • DDSI.27.59 • 1:43
Recording • DDSI.27.60 • 3:22
Written by Sam Cooke
Recording • DDSI.27.61 • 0:43 • Medley with "Oh, Darling"
Recording • DDSI.27.88 • 0:43 • Medley with "Bring It On Home To Me"
Recording • DDSI.27.62 • 1:16
Recording • DDSI.27.63 • 4:26 • This version was released in different mixes, on the single version and on the "Let It Be" album. This performance however breaks down at the coda.
AlbumOfficially released on Get Back / Don't Let Me Down (UK - Mono)
Recording • DDSI.27.64 • 1:19
Recording • DDSI.27.65 • 2:43
Recording • DDSI.27.66 • 5:46
Recording • DDSI.27.67 • 6:37
Recording • DDSI.27.68 • 0:56
Recording • DDSI.27.69 • 9:23
Recording • DDSI.27.70 • 0:53
Recording • DDSI.27.71 • 1:27
Recording • DDSI.27.72 • 4:17
Recording • DDSI.27.73 • 0:14
Recording • DDSI.27.74 • 5:05
Recording • DDSI.27.75 • 4:20
Take These Chains From My Heart
Written by Fred Rose, Hy Heath
Recording • DDSI.27.76 • 3:16
Performed by : Paul McCartney • Ringo Starr
Film Included in Peter Jackson's film "The Beatles: Get Back", 2021
Recording • DDSI.27.77 • 1:07
Recording • DDSI.27.78 • 0:57
Recording • DDSI.27.79 • 1:16
Recording • DDSI.27.80 • 4:27
Recording • DDSI.27.81 • 3:40
Recording • DDSI.27.82 • 0:35
"You Won't Get Me This Way"
Recording • DDSI.27.83 • 4:05 • Paul McCartney improvises some generic blues lyrics, before turning to "The Walk" with the other Beatles. Medley with "The Walk"
Performed by : Paul McCartney
Written by Jimmy McCracklin, Bob Garlic
Recording • DDSI.27.83 • 4:05 • Medley with "You Won't Get Me This Way"
AlbumOfficially released on Let It Be (50th anniversary boxset)
Recording • DDSI.27.84 • 4:17 • This performance was deemed the best take from this session and was mixed by Glyn on March 13, 1969
Recording • DDSI.27.85 • 1:50
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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