Showing posts with label Paul McCartney. Show all posts
Showing posts with label Paul McCartney. Show all posts

Wednesday, 7 October 2026

Without You

Cover version of the month #124

Harry Nilsson covers Badfinger ... and so does Mariah Carey

I always thought that Without You was a Harry Nilsson song, and ... it kind of is. I guess I came to this conclusion because his name was mentioned regularly back in 1994 when Mariah Carey took the song to number 1. In fact, the song was written by Pete Ham and Tom Evans of the Welsh band Badfinger who released albums via Apple and received huge support from Paul McCartney.  Macca wrote Come And Get It for Badfinger in 1969. It's worth checking Paul's demo, where he played all the instruments, that came out Anthology 3. Remarkably, McCartney recorded it all in just 1-hour.

McCartney once described Without You as the killer song of all-time, high praise indeed. The song itself came together in a Beatles-y way, think of Lennon and McCartney merging two songs together for A Day In the Life. That's, kind of, what happened with Badfinger.

Ham wrote a song called If It's Love containing the heartbreaking lyrics

Well I can't forget tomorrow, when I think of all my sorrow

I had you there, but then I let you go

And now it's only fair, that I should let you know ... it it's love

However, Ham wasn't happy with the chorus. 

Meanwhile, Evans was besotted with a girl called Marianne who he would go on to marry. However, the relationship wasn't without its challenge. One night Evans was searching for his girlfriend and poured his heart out to her friend Karen, telling her - She's left me. I need her back. I can't live without her. Evans went on to write a song called I Can't Live with the emotional and soulful chorus;

I can't live, if living is without you

I can't give, I can't give any more

Tom Evans and Pete Ham

And so, the two songs became one. And this was just the start of the story for this particular song!

History shows that Ham and Evans are on record as saying that they didn't consider the song to be particularly strong at the time Badfinger recorded it. So, Without You was slotted to close the first side of their 1970 album No Dice. It wasn't a single and probably didn't receive that much attention in the studio.

The guitar, bass and drums are all fine, but did the band and producer (Geoff Emerick) not hear the potential for strings as the band hit the long chorus outro/mantra? Organ is introduced towards the end, over the top of the Harrison-esque guitar riff. Indeed, the song has a Harrison feel to it, you can only imagine what he could have done with it around this time when he was working on All Things Must Pass!

Badfinger's recording of the song, in comparison to Harry Nilsson's 1971 cover, sounds like a demo. It's still really good, the vocal for the chorus is beautifully stretched, however, it does feel like it's missing something - I guess it is easy to say this having originally heard the song via Mariah Carey! It's a shame that their producer Geoff Emerick didn't hear the potential that other artists, musicians or producers heard. 

Listen to this and then play Harry Nilsson's version immediately afterwards. 


Nilsson's version, released as a single in October 71 and also included on his outstanding album Nilsson Schmilsson,  is over a minute shorter than the Badfinger original. He makes the most of every single second, beginning over sparse piano, strings are introduced for the second verse, his voice is heartachingly beautiful. When he hits the chorus, the drums come in, the strings become more orchestral and Nilsson sings with all his soul. 

Well I can't forget this evening, or you face as you were leaving

But I guess that's just the way the story goes

You always smile, but in your eyes your sorrow shows

Yes it shows

And then ......Nilsson hits the chorus for the second time and it is skyscrapingly epic. There is no need to revisit it like Badfinger do for their long outro. Nilsson has said his piece, he has nothing more to say and most likely, nothing more to give after that performance! 

Pete Ham and Tom Evans received an Ivor Novello song for  Best Song Musically and Lyrically in 1972. Tragically, both songwriters committed suicide. Ham, aged just 27 and only 3-years after the Novello award. 

Badfinger, like many 60's artists, had been poorly managed, disgracefully advised and were taken advantage of financially. 'Manager' Stan Polley channelled millions into his personal control. Ham died in 1975, penniless, despite the huge success of Without You through Nilsson that should have earned him hundred of thousands, if not millions. His suicide note called Polley a soulless bastard. 

Evans continued to fight for royalties and he toured as Badfinger, however he too hanged himself in 1983 following a sad, bitter challenge from bandmate Joey Molland who contested the songwriting royalties.

Two years later, frozen royalties were paid to the surviving family of Ham and Evans. Both had died believing they would never receive them. 

Without You would go on to earn even more in publishing royalties following a cover version by Mariah Carey, originally released on her 1993 album Music Box, and then as a single in February 1994. Carey decided to cover the song after hearing Nilsson's version in a restaurant and coming to the immediate conclusion that it could be a smash hit. Mariah was right. The emotion contained in Nilsson's version was absolutely perfect for her. Carey's cover was a monumental hit, spending 21 weeks in the US Billboard Top 40 and hitting number one in dozens of countries worldwide.


Carey, with her extraordinary five octave vocal range, really goes for it at the end of the first chorus, but jeez, she really goes for it on the second chorus over pounding 80's drums before a gospel choir comes in with Carey ad libbing over the top to conclusion. 

Written with heartache at the fore, Without You has broken hearts throughout its rollercoaster history, reaching huge peaks with Nilsson and Carey, but tragically its authors were not able to benefit from the songs success. At the time of writing, Nilsson's version has been streamed 205 million times, while  Carey's version has been streamed a colossal 373,918,083 times! Incidentally, the song has been covered by over 180 artists.

Badfinger's original and the covers by Harry Nilsson and Mariah Carey are added to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE

Previous covers of the month blogs

13. Hurt
39. ABBA-esque
40. Jumpin' Jack Flash
64. Lola
82. Drop
87. Indian Rope Man + bonus Strawberry Fields Forever + This Wheels On Fire
101. Shout!
123. What Is Life? + bonus If Not For You
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Tuesday, 14 July 2026

Calico Skies

Trust me #119
Calico Skies by Paul McCartney


McCartney by the campfire - Calico Skies

Calico Skies is a gorgeous mid-period Paul McCartney song from 1997's Flaming Pie album. It's one that I always come back to and regularly discuss with my good friend Dougie.

Dougie and his lovely wife Fiona played Calico Skies to their newly born daughter Ailsa when they were en route home from the hospital.  When you hear the chorus you might suddenly find something making your eyes water. A perfect choice.

In case, like me, you wondered what a calico sky actually is, here is what google returned - it is a meteorological term for a sky covered in patchy, high-altitude clouds, typically cirrocumulus or altocumulus. These clouds break up into small, distinct and puffy white or grey sections separated by blue sky, closely resembling the patchy, multi-coloured coat of a calico cat.

So there you go!

As for the song, McCartney is at his melodic and romantic best. The acoustic guitar riff is playful, McCartney's voice is tender and sincere. There is no doubt who McCartney is singing to - Linda - the love of his life.

It was written that I would love you

From the moment I opened my eyes

And the morning when I first saw you

Gave me life under calico skies

Then we have the gorgeous chorus, McCartney pouring his heart out. Pure love and pure care. Beautiful. This melts my heart every single time I hear it!

I will hold you, for as long as you like

I'll hold you, for the rest of my life

McCartney then ups the romance! What a guy. What a songwriter. The second verse is heartfelt, a complete outpouring of love, beautiful to hear and to read. Imagine having someone write poetry like this for you. Macca was head over heels for Linda.

Always looking for ways to love you

Never failing to fight at your side

While the angels of love protect us

From the innermost secrets we hide

Then back into the chorus, that sounds even better second time in.

McCartney has described Calico Skies as "a gentle love song that becomes a gentle protest song", as you can tell from the third verse. The last line really nails Paul's colours to the mast. 

Long live all of us crazy soldiers

Who were born under calico skies

May we never be called to handle

All the weapons of war we despise

Then we're into a double chorus which includes a subtle but clever single word change second time round, with Paul changing hold to love. 

I will hold you, for as long as you like

I'll hold you, for the rest of my life

I'll hold you, for as long as you like

I'll love you, for the rest of my

For the rest of my life

McCartney turned 84 in June, shortly after releasing his latest album The Boys Of Dungeon Lane. His rich catalogue of music from The Beatles, Wings, as The Fireman, his classical work and his 20 solo album is truly exceptional. 

Since Love Me Do b/w P.S. I Love You, Paul has written/co-written and released hundreds of songs into the world. For its warmth, heart, charm and melody, Calico Skies is a real favourite of mine. 

Calico Skies is added to my Trust Me playlist; search for Everything Flows - Trust Me on Spotify or CLICK HERE. Check below for all previous blogs in my Trust Me series.

Previous Trust Me blogs

1. Something On Your Mind by Karen Dalton
1A. Crimson and Clover by Tommy James and the Shondells
2. I Am, I Said  by Neil Diamond
4. If You Could Read My Mind by Gordon Lighfoot
5. Gimme Some Truth by John Lennon
6. Gone With The Wind Is My Love by Rita and the Tiaras
7. In The Year 2525 by Zager and Evans
8. The Music Box by Ruth Copeland
9. The Ship Song by Nick Cave
10. Sometimes by James
11. I Walk The Earth by King Biscuit Time
12. Didn't Know What I Was In For by Better Oblivion Community Centre
13. When My Boy Walks Down The Street by The Magnetic Fields
14. The Man Don't Give A F**k by Super Furry Animals
15. All Flowers In Time Bend Towards The Sun by Jeff Buckley and Liz Fraser
16. Are You Lookin' by The Tymes
17. A Real Hero by College & Electric Youth
18. Feelings Gone by Callum Easter
19. Sunday Morning by The Velvet Underground
20. Did I Say by Teenage Fanclub
21. Don't Look Back by Teenage Fanclub
23. Belfast by Orbital
24. Clouds by The Jayhawks
25. Dreaming Of You by The Coral
26. Everlasting Love by Love Affair
27. Walk Away Renee by The Left Banke
28. Teenage Kicks by The Undertones
29. Shaky Ground by Sneeze
29. Rill Rill by Sleigh Bells
30. I Can Feel Your Love by Felice Taylor
31. The State We're In by The Chemical Brothers w/ Beth Orton
32. Sunshine After The Rain by Ellie Greenwich
33. Losing My Edge by LCD Soundsystem
34. Mondo 77 by Looper
35. Les Fleurs by Minnie Riperton
36. Rat Trap by The Boomtown Rats
37. How High by The Charlatans
38. I Can't Let Go by Evie Sands
39. Pop Song 89 by R.E.M.
40. Summertime Clothes by Animal Collective
41. There She Goes by The Las
42. We're Going To Be Friends by White Stripes
43. Autumn Sweater by Yo La Tengo
44. Sister Rena by Lomond Campbell
45. Revolution by The Beatles
46. Lazarus by The Boo Radleys
47. Wrote For Luck by Happy Mondays
48. American Trilogy by The Delgados
49. Loser by Beck 
50. Silent Sigh by Badly Drawn Boy
51. Comedy by Shack
52. Take The Skinheads Bowling by Camper Van Beethoven
53. Freakscene by Dinosaur Jr
54. Thank You For Being You by The Pastels
55. I Think I'm In Love by Spiritualized
56. Chestnut Mare by The Byrds
57. Cannonball by The Breeders
58. Like A Rolling Stone by Bob Dylan
60. Lucky by Radiohead
61. Strange Currencies by R.E.M.
61. I Am The Cosmos by Chris Bell
62. Like A Ship (Without A Sail) by Pastor TL Barrett and the Youth for Christ Choir
63. Nothing But A Heartache by The Flirtations
64. Made of Stone by The Stone Roses
65. Tonight In Belfast by Orbital, David Holmes, DJ Helen and Mike Garry
66. Anything by Adrianne Lenker
67. I Hold Something In My Hand by Bill Ryder-Jones
68. I Meant Every Word by Burnett Sisters
69. Dream Baby Dream by Suicide
70. Stove by The Lemonheads
71. Red Lady by Phil Cordell
72. Little Fluffy Clouds by The Orb
74. Turnin' My Heartbeat Up by The M.V.P.'s
75. Razzle Dazzle Rose by Camera Obscura
76. Such Great Heights by The Postal Service
77. The Rat by The Walkmen
78. My God Has A Telephone by Aaron Frazer
79. Unfinished Sympathy by Massive Attack
80. Sweet and Tender Romance by The McKinleys
81. Hoppipolla by Sigur Ros
82. 69 Police by David Holmes
83. Hey Lisa by David Holmes
84. I Am A Rock by Simon & Garfunkel
85. Kung Fu by Ash
86. Kids by MGMT
87. Slight Return by The Bluetones
88. Give Peace A Chance by John Lennon / Plastic Ono Band
89. Cut Your Hair by Pavement
90. Race for the Prize by The Flaming Lips
91. Waitin' for a Superman by The Flaming Lips
92. Acquiesce by Oasis
93. This Is Music by The Verve
94. Lone Swordsman by Daniel Avery
95. Sparky's Dream by Teenage Fanclub
96. Common People by Pulp
97. Let Our Love Grow Higher by Eula Cooper
98. Regret by New Order
99. Keep On Keepin' On by Nolan Porter
103. Life Is Sweet by The Chemical Brothers 
105-107. Wigan Casino - Three Before Eight - Time Will Pass You By by Tobi Legend, Long After Tonight Is All Over by Jimmy Radcliffe, I'm On My Way by Dean Parrish
108. Cobra by Geese
109. All I Have To Do Is Dream by The Everly Brothers
110. Vapour Trail by Ride
111. Teardrop by Massive Attack
112. Since I Left You by The Avalanches
113. Good Dancers by The Sleepy Jackson
114. Kiss My Love Goodbye by Bettye Swann
116. Get Out Of My Dream by The Clouds
117. Sundress by Ben Kweller
118. I Love You by Primal Scream



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Monday, 28 April 2025

Marianne Faithfull covers Lennon, McCartney and Harrison

Cover version of the month # 108-110

Marianne Faithfull covers Lennon, McCartney and Harrison

I took a bit of a dive into Marianne Faithfull's back catalogue following her death at the end of January and discovered some wonderful songs I had never heard before, including LOADS of brilliant cover versions.

Marianne's version of Dylan's It's All Over Now Baby Blue is really cool, but this blog is going to focus on 3 covers of songs written by John Lennon, Paul McCartney and George Harrison.

But before I start, I'd never seen the photograph above before! I discovered it while looking for an image to head this blog. What a super cool, utterly gorgeous woman Marianne Faithfull was! Effortless! Her hair, eyes, style, face ... stunning!

I'm A Loser 

Written in the whirlwind of Beatlemania but dripping with self-doubt and introspection, I’m a Loser was one of the first hints that The Beatles were evolving beyond simple love songs. Lennon, clearly inspired by Dylan, delivers a folk-tinged lament on failure and regret, wrapped in the kind of catchy melody that The Beatles had long since perfected. Were the lyrics about his marriage/relationship with Cynthia?

The harmonies are tight, there is a country tinge and twinge to the song and groove that you can imagine Ringo in particular being fond of. In fact, I would say that upon revisiting this song, it is probably more suited to Ringo. However, perhaps it was just too personal for John to give away. 

George picks a neat guitar solo and Lennon plays harmonica to help the groove. Lennon, it could be said, sounds perhaps a little too jovial whilst singing this song.

I'm a loser

And I lost someone who's near to me

I'm a loser

And I'm not what I appear to be

Originally released on Beatles for Sale in 1964, I’m a Loser would swiftly be followed by a more stark confession from Lennon with the single and title track of the next album - Help! This time, Lennon leaves the listener in no doubt that he means it.

A year on from The Beatles version, in 1965, Marianne Faithfull took I’m a Loser and turned it into something completely different. Faithfull's voice is firm, yet delicate and melancholic, full of heartbreak. There is more of a zip to the song, indeed this cover shaves 15-seconds off the already short (2.5 minutes) original.

Faithfull was only 18 at the time of recording her version, but already her voice carried a wisdom beyond her years. Her cover hints at the kind of raw emotion she would later become known for. 

Reading back through her tough life in the aftermath of her break up with Jagger, when she was living on the streets of London and addicted to heroin, the lyrics become a little haunting. Yet, as with everything Marianne Faithfull seemed to touch, there is beauty. You feel every word.

Yesterday

So much has been written about Paul McCartney's Yesterday that I'm really not sure if I can add anything helpful in this blog. But I'll give it a go!

Quite simply, it's a masterpiece! Paul singing over an acoustic and a string arrangement seemingly played on heart strings. McCartney is heartbroken, pining for his love and yesterday when, love was such an easy game to play.

Marianne Faithfull takes Paul's poetry and portrays the heartbreak and heartache perfectly. Released on her 1967 album Love In A Mist, Faithfull's voice is angelic, backed by gentle piano and a choir who sound heaven sent. Quite simply, this is as good as it gets. Sublime. 2-minutes 15 seconds of perfection.

Beware of Darkness - George Harrison

Written by George Harrison and released on his stunning 1970 album All Things Must Pass, Beware of Darkness beautifully captures Harrison's spiritual energy and empathy, the lyrics are both deeply personal and universally resonant.

George's delivery is gentle but urgent, his voice full of quiet authority. You believe him. The song, like much of All Things Must Pass, is awash in Phil Spector’s signature production—big, spacious, reverb-heavy—but at its core, it remains an intimate, almost prayer-like composition. Beware of Darkness has a really beautiful and pure feeling to it.

Where Harrison’s version warns you about darkness, Marianne Faithfull sounds like she’s already deep inside it. Faithfull recorded the song back in 1971 for an album Masques, but this sat unreleased until 1985 when it was released as part of compilation album called Rich Kid Blues. 

Faithfull strips away the warmth of Harrison’s original and replaces it with something raw and fragile. Spector's rich production is replaced by something sparse, stark, almost ghostly. The lead guitar is exquisite.

I get a little chill listening to Faithfull's cover. Marianne's voice, weathered and worn by experience, carries a depth that makes every word feel lived-in. She doesn’t just sing the warning—she has lived through it. Faithfull was only 25 when she recorded the song, but was struggling with addictions. Following her break up with Jagger, Marianne lost custody of her son, attempted suicide and was living on the streets of London. Masques was recorded to try and help her, the record label rejected it.

Faithfull's cover versions and The Beatles and George Harrison originals are added to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE

Previous covers of the month blogs

13. Hurt
39. ABBA-esque
40. Jumpin' Jack Flash
64. Lola
82. Drop
87. Indian Rope Man + bonus Strawberry Fields Forever + This Wheels On Fire
92. Valerie
101. Shout!

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Thursday, 2 November 2023

Now and Then

Now and Then, the 'last' Beatles song, was released earlier today. 

The song, like Free As A Bird and Real Love from the Anthology Series in 1995, stems from a John Lennon demo. Back in 1995, the technology didn't exist to isolate John's vocal from the piano. 

That was then, this is now. John, Paul, George and Ringo are united once again, to complete the song, continue The Beatles story and help with yet more Beatles remasters and reissues (of the Red and Blue compilation albums).

Personally, I'll never tire of reading about The Beatles, or listening to their brilliant music that wowed (and changed) the world, or hearing their musings and philosophies on life. Give Peace A Chance, All You Need Is Love, We All Shine On .... important then, more so now.

The Beatles story is wonderful and this is another chapter of the most incredible book that takes in; friendship, music, death, love, travel, children, creative souls, mind-blowing success, mind-bending drugs, break-ups, make-ups, reflection ... and four characters that developed through the years, four people we all fell for. It's been quite the journey ... a long and winding road.

Now, with Paul and Ringo in their 80's, this really is likely to be the last time The Beatles create and release a new song. Their legacy will last forever and I'm sure that someone somewhere is working up an ABBA experience style series of shows  ... but lets focus on the new song.

The piano is haunting, and Lennon's voice hits hard, it gripped me immediately. Paul comes in, subtly at first, then your hear his voice coming in stronger, then Ringo's drums seem harder and Paul's bass is there, the strings are sublime and everything builds quite beautifully.

Paul sounds older, his voice still gelling with Lennon in the 70's. George's slide guitar from the 90's is there, the strings swirl and after the second chorus there is a gorgeous dreamy instrumental with classic Beatle aaahhh's and oooohhh's.

I know it's true

It's all because of you

And if I make it through

It's all because

Of you

There was a surge of optimism in mid-90's Britain when The Beatles last released new music. Britpop was at its 1995 peak and Labour were riding towards government. The Tories were on their way out and the nation was ready to party - things could only get better.

We could sure use a surge of optimism and change right now!

Official audio

Peter Jackson's Now and Then film


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Sunday, 28 November 2021

Get Back Part 2

 


So where we?

Oh yeah, George has left The Beatles, leaving John, Paul, Ringo and Yoko to kind of break down in the studio, letting out their own frustrations in experimental noise. 

On Sunday, The Beatles all head out to see George to try and persuade him to come back. It doesn't go well. They then hear through the grapevine that Harrison is in Liverpool, so that leaves them with a few days of hanging around.

At one stage, early in Part 2, Paul McCartney has tears glistening in his eyes as the remaining Beatles sit around contemplating that this might be the end. It's a very emotional and moving scene. We are also able to listen to Paul and John talking off camera, thanks to a microphone hidden in the Twickenham Studio canteen.

But...

George returns! The band move out of the cavernous Twickenham Studios (which really didn't help in any way at all) and into a kind of DIY Apple studio in Saville Row. It's just a small rehearsal room and Glyn Johns, seemingly single handedly, constructs a control room and studio.

All of a sudden, John Lennon seems like a different person. Acting up for the camera, bantering with McCartney, changing into fresh clothes, finding energy and enthusiasm for the project.

George is back, but he is off camera for large chunks of part 2. Was that part of the deal for him coming back? He's sitting in the corner behind John and Yoko and due to the reduced size of the room, the cameras can't get to him easily.

For a while it's just all Paul and John, laughing with each other, bouncing off each other, in the zone. It's so beautiful to watch.


And then Billy Preston comes in and the band are all over him. Smiling, laughing, talking of the Hamburg days. Preston sits in with them, looking super stylish and cool, but also like the cat who got the cream ... or The Beatles!

Preston jams with ease and the mood is lifted again. The decision to banish any thoughts of travelling to record a finale to the film/documentary also helps with the relaxed atmosphere. And McCartney changes the performance date decisively, pushing it back to allow more time to play. McCartney also takes charge and the others let him - saying that they need purpose for and outcomes from every day.

And then George is smiling! The scowls from episode 1 seem like a distant memory / nightmare. All of a sudden George is suggesting they release Get Back as a single - next week. For the first time, the band are a real band - singing from the same sheet (with help from Mal Evans writing down the lyrics) in the rehearsal room and also in the control room. Everyone is on the same page - even Michael Lindsay-Hogg who had previously been trying to badger the band into travelling and scenes ... he is just enjoying the mood, the music and the opportunity to watch the band at work - just like us.

The beauty of the documentary really shines in part 2. The Beatles at work and play - together. Lennon wisecracking, McCartney in the zone, Starr loving it and George is even allowed to make suggestions without being shot down!

I particularly love the footage of the band playing George's For You Blue with Lennon improvising on the slide guitar that has just been brought in. We get to see the take that was used on the original Let It Be album, with Harrison highlighting that he wants something raw, recorded in a maximum of 4 takes.


There is also incredible footage of The Beatles 1968 trip to India, beautifully edited to fit in with a conversation that Paul is leading about watching his homemade footage the previous night. 

And then conversations change from the band playing on Primrose Hill to playing on the roof of the building they are in. We see the smile on Paul's face as this suggestion is relayed to him and then we see him boosting himself and others on to the roof for a look. This is a brilliant scene, a real pleasure to witness the suggestion and the first look at the rooftop.

I'll go back to watch part 2 of Get Back many times over the months and years ahead. From feeling a little heartbroken watching the tension, frustration, lack of direction and George walking out in part 1 ... to laughs, smiles and the sight of The Beatles playing and having fun - beautiful.










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Saturday, 27 November 2021

Get Back Part 1

I was introduced to The Beatles Let It Be album as a teenager. i distinctly remember buying the cassette from Impulse Records in Hamilton and playing it on the way back to Carluke in the car with my Mum. 

It's not the best Beatles record, it's not my favourite, but I love it. The rawness, the guitar sounds, Lennon singing everybody had a wet dream, a mention for Matt Busby, McCartney pouring his heart out ... and then I'd learn of the rooftop gig. One of my favourite Beatles moments.

And I learned of how the album came about, of how the film that documented recording was essentially a documentary of The Beatles breaking up on screen.

And then came the trailer for Peter Jackson's new version of the documentary that promised the band playing together, joking and looking like a band.

Who is right? The legions of fans who had watched bootleg footage over the years? Or Jackson?

Only one way to find out.

Part 1

At one point in Part 1 of the Get Back documentary George Harrison says that The Beatles have 'been in the doldrums for at least 18-months' and it shows. It's January 1969 and they are sitting around in a cavernous studio with dates circled in the calendar for a rehearsal and a show.

Over cups of tea and toast, a glum faced Ringo, scowling Harrison and spaced out Lennon with Yoko by his side (often knitting) and a couple of George's Hare Krishna mates sitting cross legged in the background, The Beatles look a little lost. Paul McCartney, in contrast, looks like he has had a double espresso, raring to go.

Trusty sidekick Mal Evans is there, a very cool looking Glyn Johns who looks like he should be in a band himself and director Michael Lindsay-Hogg, almost permanently smoking fat cigars, are trying to cajole them into action.

The trouble is, they have very little new material ready to go. There are immediately bug bears - Lindsay-Hogg constantly goes on about filming the performance in far away places that none of them have the desire to go to, while straight away Harrison is moaning about the sound and lack of equipment. Eventually George's own recording machine 'careful with that, that was £10,000' is wheeled in out the back of an Apple branded truck.

Lennon has Don't Let Me Down, McCartney has Two Of Us and that is about it. They play endlessly with Don't Let Me Down, McCartney adding backing vocals and ad libbing endlessly to try and generate some energy.

His friend Lennon produces some outrageous rock n roll vocals, even while sitting down, but the energy isn't there. Lennon and Ono were heavily rumoured to be in a heroin haze around this time.

Harrison plays All Things Must Pass, but in almost the same breath he says he's not sure he wants any of his songs used. Lennon has the bones of Gimme Some Truth that the band jam through.

George speaks in awe of his friend Eric Clapton, the band play I'm So Tired looking bleary eyed / bored / stoned and Lennon nods off. 

At one point during this stage McCartney was beginning to annoy me, as well as Lennon and Harrison, as he attempted to find something in Don't Let Me Down. Eventually Glyn Johns steps in to offer his own solution and things thankfully move on. 

Paul talks about something being too complicated, needing to be simplified, then complicated, but it's complicated enough ... I'm surprised George didn't down tools and walk off at this point!

'I'm trying to help you, but I always feel as if I am annoying you.' Paul

McCartney is the one that downs his bass, frustrated by the pressure of leading the band after the death of Brian Epstein. 

You could cut the air with a knife, the tension is palpable. This is when George says his famous line about playing whatever Paul wants him to play, or he'll not play at all. This is only day 3.

On day 4, in the face of adversity McCartney starts jamming Get Back. Harrison, despite yawning at the start, realises he is on to something. The footage is remarkable, Paul finding the melody, improvising lyrics, George joining in on guitar. And then Paul finds the hook get back, get back, get back to where you once belonged. Ringo sings it with him. Lennon has yet to turn up!

Lennon rocks up wearing the same clothes as the day before, Lindsey-Hogg goes back to talking about going away, and the good vibe is lost.

At one point McCartney gets frustrated from the lack of enthusiasm, Harrison says that a lot will come out of it if we get the enthusiasm. McCartney says he wants to do a show but doesn't feel a lot of support. It leads to The Beatles default leader saying this will be the last. We either go home, or we do it.

Maybe we have a divorce, says George. Well I said that at the last meeting, says Paul. Who'll get the children, jokes John.

You think things can't go any lower ... then McCartney introduces the band to Maxwell's Silver Hammer! Mal Evans even bangs a hammer! Lennon's eyes have no spark at all. 

On to 8th January Harrison introduces I Me Mine, allegedly about McCartney. If Paul, realises, he hides it well, probably just delighted that George has something to offer. Paul then has a conversation with John to say they are facing a crisis. Lennon offers him the reassurance that he comes up with the goods when he has his back to the wall.


There is a great moment when John and Paul share a microphone, standing up to sing Two Of Us. But then they are back to Maxwell's Silver Hammer!

Then, as The Beatles are all off in different corners of the room, with Lennon discussing a potential amphitheatre show,  McCartney is seated at a piano, playing Let It Be, working on the song lyrics and structure. Starr looks on wistfully and comments to someone that he could watch Paul play piano all day long.

Tension is everywhere though and the people involved in filming and recording notice it. Lindsey-Hogg says to John - Paul and you are not getting on as well as you did. The distraction of not knowing where the actual performance will be filmed takes up a lot of time and discussion. Ranging from hiring boats to Africa, to dance halls, to the Tower of London. George is mightily pissed off at this point.

Day 6, Paul shows up with a fresh faced Linda McCartney looking beautiful and cool. As if to show off to Linda, Paul immediately goes to the piano to play Another Day. Mal Evans leans against the piano and Paul begins to play The Long And Winding Road, Mal writing down lyrics and giving his opinion

Mal's face is lovely, just smiling at his friend displaying his immense creative talent. Linda looks on adoringly. What an absolute joy to see this footage - McCartney totally in the zone, he then plays Golden Slumbers as Linda takes pictures. George arrives and Paul then plays Carry That Weight, his idea for a song for Ringo.

George plays For You Blue, Lennon and Yoko arrive with John still wearing what he describes as his continuity clothes, with moss growing under my arms. 

Harrison plays a Dylan song, maybe a sign of where he was at, or where he wanted to be. John and Paul re in a jokey mood, George clearly isn't in on the joke.

The footage is remarkable, the four play Let It Be, all of them recognising the beauty in the song. Yoko and Linda chat, laughing and smiling together. For a brief moment, everything seems harmonious.

Day 7 - George does not look happy! Paul and John seem to be interacting well, McCartney is leading on conversation and direction. He is always facing John though, Harrison sits quietly smoking on his amp and is shot down when he attempts to join the conversation. 

McCartney talks about some chords being fashionable or unfashionable, and vamping! Harrison's scowl intensifies as Paul bounces Get Back off John for help with the lyrics. The old partnership is still there. Harrison, is sidelined. It's noticeable he remains seated even when Lennon and McCartney are standing to play Two Of Us.

It's ironic the song the band are playing is titled Two Of Us as Harrison gets up for lunch to announce.

I think I'm leaving the band now. Now. get a placemenmt, write into the NME.

Post lunch, the remaining Beatles appear to have a nervous breakdown on film with Yoko howling as the Paul, John and Ringo create heavy metal noise and feedback. 

What will happen in part 2?






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