![]() ![]() John was an early Fleetwood Mac fanīack in 1969, Fleetwood Mac was still a relatively new band, and of course, Christine McVie, Lindsey Buckingham and Stevie Nicks had not yet joined the group at that point. George quickly puts the kibosh on that: “The idea of the boat is completely insane,” he tells him. He doesn’t want any Libyans in the audience, however, so he suggests the Beatles transport a bunch of their English fans over by boat. Eventually, he becomes fixated on Tripoli as a potential venue - despite the fact that the group has less than two weeks to put together and film the performance. At one point he suggests a hospital, but “not one where they’re really sick.” Later, he tries to get them to film the special at an orphanage. Michael Lindsay-Hogg was full of terrible ideas about where the Beatles should film their TV specialīefore the TV special concept was abandoned, Let It Be director Michael Lindsay-Hogg spent much of his time relentlessly pitching the Beatles terrible ideas about where they should film it. But John always does, you know.”Īnd in an eerily prescient moment, he seems to be aware of what the prevailing narrative about Ono will be: “It’s going to be such an incredible sort of comical thing, like, in 50 years’ time, you know: ‘They broke up ‘cause Yoko sat on an amp,’” he says. It’s like they’re going overboard about it. So I just think it’s just silly of me or anyone to try and say to them, ‘No, you can’t.’ It’s like that we’re striking ’cause work conditions aren’t right. “She really is alright,” he says in Get Back‘s second episode. There is a scene in which Paul and Ringo mention being a little annoyed by the fact that Yoko spoke for John during a band meeting, and she’s constantly by his side throughout the entire docuseries, but Paul’s careful to point out that Yoko and John being so inseparable doesn’t really bother him. One of the most common misconceptions about the Beatles is that Yoko Ono is responsible for the Beatles’ breakup, but Get Back does its best to dispel that rumor. Paul wasn’t that annoyed by Yoko’s presence And of course, musically, his contributions on organ and electric piano are enormous. His presence very obviously lifts everyone’s spirits, and the Beatles are able to stop squabbling long enough to actually get some work done. There’s a noticeable shift in Get Back‘s second episode when Preston - dubbed the “Fifth Beatle” - shows up. ![]() We shudder to think of what Let It Be might have been without the contributions of Billy Preston. Billy Preston got roped into playing on the album after stopping into the studio to say hi With that in mind, we’ve rounded up some of the biggest takeaways from the doc below. The lengthy doc - which is advertised as six hours long but actually clocks in closer to eight hours - draws from over 60 hours of footage originally filmed for Michael Lindsay-Hogg’s Let It Be documentary, and it captures the Fab Four on the verge of breaking up while they struggle to write and record one last album in roughly two weeks.Īny Beatles fan surely already knows the lore, but The Beatles: Get Back provides some much-needed context and delivers some incredible fly-on-the-wall footage. ![]() The genius on display has continued wowing viewers since The Beatles: Get Back was released last week, with the clip of McCartney creating the tune quickly becoming popular on social media.Over the holiday weekend, Peter Jackson’s highly anticipated docuseries The Beatles: Get Back made its debut on Disney+, and since then, we’ve been reeling from some of its major revelations. Regardless, it’s clear that McCartney shaped “Get Back” quickly, with the film’s footage capturing a significant portion of the song’s creation. The documentary is edited, and even though director Peter Jackson added more than six hours of footage to what had been Let It Be, there was still plenty of material left on the cutting-room floor. Whether the song came together exactly this quickly is up for debate. Two minutes in, “Get Back” is truly a song, bearing a strong resemblance to the version that would eventually become a chart-topping hit in 1969. Starr claps along with a percussive concept, while Harrison strums some guitar ideas. By the 90-second mark, McCartney’s Beatles bandmates begin to pick up on what he’s doing. A minute in, the clearer vision begins taking shape. After 30 seconds, a fledgling idea starts to form. The songwriting legend continues chugging along on his bass, occasionally changing the chord and pace. Instead, it’s simply vowel sounds and rhythmic phrasing, basically gibberish designed as a placeholder where lyrics could potentially go. McCartney sings along to his chords, but doesn’t appear to use real words. ![]()
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