Album This song officially appears on the Come And Get It / Rock Of All Ages 7" Single.
Timeline This song was officially released in 1970
This song was recorded during the following studio sessions:
Aug 02, 1969
Early / mid-June 2014
Officially appears on Come And Get It / Rock Of All Ages
Officially appears on Magic Christian Music
Paul McCartney Talks 1983 Classic ‘Pipes Of Peace’ With James Dean Bradfield
Sep 30, 2015 • From DIY
I wrote this very late, one night at Cavendish Avenue. I left Linda in bed, saying, ‘I’ve got an idea for a song.’ I went downstairs and just whispered it into my tape recorder. I played it very quietly so as not to wake her.
Paul McCartney
From Wikipedia:
“Come and Get It” is a song composed by English singer-songwriter Paul McCartney for the 1969 film The Magic Christian. The song was performed by Badfinger, produced by McCartney and issued as a single 5 December 1969 in the UK, and 12 January 1970 in the US, on the Beatles’ Apple label. It was the band’s first release under the Badfinger name (having previously recorded as The Iveys) and was their international breakthrough, hitting the top 10 in both the UK and US singles charts.
The Beatles (Paul McCartney) version
Paul McCartney recorded a solo demo of the song on 24 July 1969, after arriving early for a Beatles recording session for their Abbey Road album. Singing the double-tracked lead vocal and playing all the instruments, he laid down the vocals and piano on the first take, sang again and played maracas on the first overdub, then added drums, and finally put in the bass guitar track. It took less than an hour to finish. The biggest differences between the McCartney and Badfinger versions are a slower tempo and slightly higher key on the demo, and the use of three-part harmonies on the Badfinger single. Though McCartney was the only Beatle performing on the track, it was officially released as a Beatles song on the 1996 Anthology 3 compilation album and the 2019 Abbey Road re-release, having already appeared on various bootlegs. The 2019 re-mix featured a significant improvement in the recording’s sonic quality.
In his book Revolution in the Head, Ian MacDonald described the song as “by far the best unreleased Beatles recording”.
Badfinger version
On 2 August 1969, McCartney produced the studio version at EMI (Abbey Road) Studios by the Apple band Badfinger (then called the Iveys) telling them, “Okay, it’s got to be exactly like this demo.” His “carrot” for the band was his offer to produce this song and two other Iveys’ originals for the movie The Magic Christian, since he had a contract to supply three songs for it. The band followed his instructions.
McCartney auditioned each of the four Iveys to sing lead on “Come and Get It”. Ultimately, he picked Tom Evans over the other three band members, Pete Ham, Ron Griffiths, and Mike Gibbins.
The single was released on Apple Records on 5 December 1969 in the UK, but not until 12 January 1970 in the US. “Come and Get It” was a hit single for the band, peaking at number 7 in the United States, and number 4 in the United Kingdom. It was the opening theme for the film The Magic Christian, starring Peter Sellers and Ringo Starr (it was also repeated during the movie’s closing credits, with an additional string arrangement added). The UK picture sleeve for the single shows a kaleidoscopic montage of all four members of Badfinger that appear on the song, although bassist Ron Griffiths left the band before the single was released.
In 1978 a re-formed version of Badfinger re-recorded “Come and Get It” for K-tel Records, with Evans again singing lead. This served to provide a demo recording to give to Elektra Records, and resulted in the Airwaves album in 1979. […]
On July 5, 1969, The Iveys were interviewed by UK music magazine, Disc And Music Echo, and explained they felt neglected by Apple and The Beatles. By chance, Paul McCartney read the article and decide to get involved to re-launch the Iveys. Earlier in 1969, he had been commissioned to write the theme song for the film “The Magic Christian” (featuring Ringo Starr) and convinced the producers of the film to have the Iveys performing a new composition of his, “Come And Get It“.
Paul was always the most interested in us. When he wrote ‘Come And Get It’, he offered it to us because he knew that we had nothing to do. He even produced it, and told us, ‘I’m not going to do this song … but don’t expect any more.’ When we originally did the single, it was too simple, because only piano, bass and drums are used. But now we’realise what a genius Paul is, he knew what he was doing. To begin with, we used to get very involved with our recording as much as possible. When we submitted our tape to Paul, he returned it, offering to take us into the studio to show us how it ought to be done. Now, he’s helped to bring us out more, and has built up a lot of enthusiasm by taking an interest. Perhaps, if he liked the song we choose for the next single, he’ll produce it for us.
Tom Evans of Badinger – From Badman, Keith. The Beatles: Off the Record . Music Sales. Kindle Edition.
I said, “You should copy this faithfully”. They said, “But we’d like to change it a little bit.” I said, “No, it’s absolutely the right arrangement. Please don’t change this. I can guarantee it’s a hit.
Paul McCartney, about the recording of “Come And Get It”, with Badfinger – quoted from “Abbey Road 2019” liner notes.
I’d written the song Come And Get It and I’d made a fairly decent demo. Because I lived locally, I could get in half an hour before a Beatles session at Abbey Road – knowing it would be empty and all the stuff would be set up – and I’d use Ringo’s equipment to put a drum track down, put some piano down, quickly put some bass down, do the vocal, and double-track it. I said to Badfinger, ‘OK, it’s got to be exactly like this demo,’ because it had a great feeling on it. They actually wanted to put their own variations on, but I said, ‘No, this really is the right way.’ They listened to me – I was producing, after all – and they were good. The song was a hit in 1970.
Paul McCartney, Anthology
Paul said, “I’ve got a lot on my plate at the minute. It’s yours if you do what I say. If you accept this as your next single, you can write the other two tracks they need for Ringo’s film”. It was too good an offer to refuse. […] That session went on forever. Around 30 takes, I think. Peter Ham, Tommy Evans and myself all had a shot at singing it. Tommy got the gig
Ron Griffiths, from Badfinger , about the recording of “Come And Get It” – quoted from “Abbey Road 2019” liner notes.
IVEYS FIND IT HARD TO PLEASE BEATLES
It’s difficult to tell whether the Iveys are happy or sad with life.
Launched with much acclaim and publicity last year by the Almighty Apple with a pleasant-enough single called “Maybe Tomorrow” and a nation-wide tour with house-packing Gene Pitney, they have since been forgotten by all.
Or almost all… until last week when a heart-warming registered letter arrived at Disc offices with a plea, signed by 143 Ivey fans, to know what’s going on!
“We do feel a bit neglected”, said Ron Griffiths, “especially as that record got as high as N°50 in America and nobody seems to know about it. We’ve had hoped someone might have blown a trumpet for us when that happened.”
In fact, the main reason nothing’s been happening for the Iveys is that The Beatles (who you may know are directors of Apple!) are very hard to please! “We keep writing songs for a new single and submitting them to Apple, but the Beatles keep sending them back saying they’re not good enough. We’ve now come up with a song that Mal Evans (former Beatles road manager and now their personal assistant at Apple) says he likes, so perhaps we stand a chance at last”.
The Iveys (the rest of them are Peter Ham, Tom Evans and Mike Gibbins) are currently ensconced in their Golders Green flat with manager Bill Collins, alternately writing and rehearsing.
“We’ve had a sound-proof studio built in the flat, and seem to be sweating out all our time in there.”
“Mind you,” adds Tom Evans, “we’ve had a lot of things that most groups could not expect. The Beatles bought our gear for us, all the equipment and the group van, and we’ve had all sorts of concessions… all we need now is a hit single, or even just a new single, hit or not, and we’ll be happy!”
“We’re going to keep on writing, and we’re determined to come up with something the Beatles like. At first, we were adamant about not recording anything but one of our own songs, but now we’d record anything, so long as it was good
“No, the Beatles haven’t offered us any of their songs, but then we’re not really expecting them to. Paul McCartney did suggest that a couple of tracks off our American LP might make a single… but not for England.’
Asked about the state of their morale, the Iveys reply they are up one data, down the next.
“But in general, we’re still optimistic – and whatever happens we’re determined to win.”
Paul McCartney performed the song live for the first time in Bologna, Italy on November 26, 2011. In 2015, Paul McCartney shared lead vocals with Alice Cooper in the cover of the song by supergroup Hollywood Vampires, which appears on their debut album Hollywood Vampires
If you want it, here it is, come and get it
Make your mind up fast
If you want it, anytime, I can give it
But you better hurry 'cause it may not last
Did I hear you say
That there must be a catch?
Will you walk away
From a fool and his money?
If you want it, here it is, come and get it
But you better hurry 'cause it's goin' fast
If you want it, here it is, come and get it
Make your mind up fast
If you want it, anytime, I can give it
But you better hurry 'cause it may not last
Did I hear you say
That there must be a catch?
Will you walk away
From a fool and his money?
Sonny, if you want it, here it is, come and get it
But you'd better hurry 'cause it's going fast
You'd better hurry 'cause it's going fast
Fool and his money, Sonny
If you want it, here it is, come and get it
But you'd better hurry 'cause it's goin' fast
You'd better hurry 'cause it's goin' fast
You'd better hurry 'cause it's goin' fast
Come And Get It / Rock Of All Ages
7" Single • Released in 1969
2:21 • Studio version • A
Paul McCartney : Producer, Tambourine Tony Clark : Recording engineer Pete Ham : Backing vocals, Piano Tom Evans : Lead vocals, Maracas Mike Gibbins : Drums Ron Griffiths : Backing vocals, Bass
Session Recording: Aug 02, 1969 • Studio EMI Studios, Abbey Road
LP • Released in 1970
2:21 • Studio version • A • Stereo
Paul McCartney : Producer, Tambourine Tony Clark : Recording engineer Pete Ham : Backing vocals, Piano Tom Evans : Lead vocals, Maracas Mike Gibbins : Drums Ron Griffiths : Backing vocals, Bass
Session Recording: Aug 02, 1969 • Studio EMI Studios, Abbey Road
The Magic Christian (Original Soundtrack Album)
Official album • Released in 1970
2:19 • Studio version • A
Paul McCartney : Producer, Tambourine Tony Clark : Recording engineer Pete Ham : Backing vocals, Piano Tom Evans : Lead vocals, Maracas Mike Gibbins : Drums Ron Griffiths : Backing vocals, Bass
Session Recording: Aug 02, 1969 • Studio EMI Studios, Abbey Road
The Magic Christian (Original Soundtrack Album)
Official album • Released in 1970
0:46 • Studio version • A1
Official album • Released in 1996
2:30 • Demo • B • Stereo • Ahead of the Beatles' latest session for Abbey Road, Paul McCartney arrived at EMI early this July afternoon and assembled a solo demo of a new composition, Come And Get It, that he was offering exclusively to be Apple label group the Iveys. First he sang and played the piano, then he double-tracked his vocal and shook maracas, then added drums and, finally, overlaid bass guitar. The process took less than an hour, and nine days later Paul produced the Iveys' version, almost identical to his, which - released after they changed their name to Badfinger - became a Top Five single and the main theme for the Peter Sellers/Ringo Starr movie The Magic Christian.
Paul McCartney : Bass, Drums, Maracas, Piano, Vocals George Martin : Producer Phil McDonald : Recording engineer
Session Recording: Jul 24, 1969 • Studio EMI Studios, Studio Two, Abbey Road
Magic Christian Music (2010 remaster)
CD • Released in 2010
2:21 • Studio version • A • Stereo
Paul McCartney : Producer, Tambourine Tony Clark : Recording engineer Pete Ham : Backing vocals, Piano Tom Evans : Lead vocals, Maracas Mike Gibbins : Drums Ron Griffiths : Backing vocals, Bass
Session Recording: Aug 02, 1969 • Studio EMI Studios, Abbey Road
Official album • Released in 2015
2:59 • Studio version • C
Paul McCartney : Bass, Piano, Vocals Abe Laboriel Jr. : Background vocals, Drums Alice Cooper : Background vocals, Vocals Joe Perry : Guitars Johnny Depp : Background vocals, Guitars Bob Ezrin : Background vocals
Session Recording: Early / mid-June 2014
Official album • Released in 2016
2:30 • Demo • B2016 • Stereo • Ahead of the Beatles' latest session for Abbey Road, Paul McCartney arrived at EMI early this July afternoon and assembled a solo demo of a new composition, Come And Get It, that he was offering exclusively to be Apple label group the Iveys. First he sang and played the piano, then he double-tracked his vocal and shook maracas, then added drums and, finally, overlaid bass guitar. The process took less than an hour, and nine days later Paul produced the Iveys' version, almost identical to his, which - released after they changed their name to Badfinger - became a Top Five single and the main theme for the Peter Sellers/Ringo Starr movie The Magic Christian.
Paul McCartney : Bass, Drums, Maracas, Piano, Vocals George Martin : Producer Phil McDonald : Recording engineer
Session Recording: Jul 24, 1969 • Studio EMI Studios, Studio Two, Abbey Road
Abbey Road (50th anniversary boxset)
Official album • Released in 2019
2:43 • Demo • B1 • Studio Demo. The version issued on Anthology 3 in 1996 had been remixed from the multi-track tape 12 years earlier for a completed - but never released - album of previously unissued tracks. [This track] is the original mix made, with John and Paul present in the control room, immediately after 'Come And Get It' had been completed.
Paul McCartney : Bass, Drums, Maracas, Piano, Vocals Giles Martin : Mix engineer, Producer Sam Okell : Mix engineer Chris Sheldon : Mix engineer
Session Recording: Jul 24, 1969 • Studio EMI Studios, Studio Two, Abbey Road
On The Run - Bologna, Italy - November 26, 2011
Unofficial live
2:50 • Live
Concert From the concert in Bologna, Italy on Nov 26, 2011
On The Run - Bologna, Italy - November 27, 2011
Unofficial live
2:46 • Live
Concert From the concert in Milan, Italy on Nov 27, 2011
“Come And Get It” has been played in 10 concerts and 4 soundchecks.
Liverpool • The Echo Arena • United Kingdom
Dec 20, 2011 • Part of On The Run Tour
Manchester • The MEN Arena • United Kingdom
Dec 19, 2011 • Part of On The Run Tour
Moscow • The Olympinski Arena • Russia
Dec 14, 2011 • Part of On The Run Tour
Helsinki • The Hartwall Arena • Finland
Dec 12, 2011 • Part of On The Run Tour
Stockholm • The Globen • Sweden
Dec 10, 2011 • Part of On The Run Tour
The Lyrics: 1956 to the Present
"Come And Get It" is one of the songs featured in the book "The Lyrics: 1956 to the Present," published in 2021. The book explores Paul McCartney's early Liverpool days, his time with the Beatles, Wings, and his solo career. It pairs the lyrics of 154 of his songs with his first-person commentary on the circumstances of their creation, the inspirations behind them, and his current thoughts on them.
Paul McCartney: Music Is Ideas. The Stories Behind the Songs (Vol. 1) 1970-1989
With 25 albums of pop music, 5 of classical – a total of around 500 songs – released over the course of more than half a century, Paul McCartney's career, on his own and with Wings, boasts an incredible catalogue that's always striving to free itself from the shadow of The Beatles. The stories behind the songs, demos and studio recordings, unreleased tracks, recording dates, musicians, live performances and tours, covers, events: Music Is Ideas Volume 1 traces McCartney's post-Beatles output from 1970 to 1989 in the form of 346 song sheets, filled with details of the recordings and stories behind the sessions. Accompanied by photos, and drawing on interviews and contemporary reviews, this reference book draws the portrait of a musical craftsman who has elevated popular song to an art-form.
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