Your interview with Peter Jackson was epic.

One of my small takeaways was how big of a Beatles fan Maureen "Thanks Mo," Starkey was! To see her listening in the control room just smiling and clapping along was priceless

That lunch time conversation between Paul and John was as fascinating as it gets. It seems like after that conversation, when Paul tells John you're the boss, John took the "hint" for lack of a better term and took the leadership role the rest of the way. The whole group worked better together after that point. Plus of course the infusion of Billy Preston into the sessions was critical/amazing/game changer. Even if Paul or John overdubbed keyboards on those songs they never would have played with the soulfulness of a Billy Preston. If you believe in a higher power, a higher power made sure that Billy made it into those sessions.....

To be honest, I find it funny that John was shaming Paul for his treatment of George after John straight-up mocked "I Me Mine" when George was trying to play it for them. I know he was ultimately saying they were both guilty of marginalizing George, but it's ridiculous that he's making Paul feel bad when Paul wasn't being nearly as mean

I think you’re right about the George and Yoko bit, Linda said that at the meeting that Yoko was talking for John and he wasn’t talking, at that point George got up and left the meeting.

I think it is no coincidence that the first meeting ( that never went well) that never resolved the George walkout included Yoko and Linda where as the next meeting that resulted in George returning was just the 4 guys.

Another cerebral discussion, gentlemen. We are truly gifted by having witnessed such a detailed, intimate bioscopic experience 52 years after the fact.

Loved it when John said to Paul that he was leaving his favorite guitar behind so Paul could be sure he'd be back the next day. John knew how upset Paul had been when he was late.

Another wonderful moment in Get Back which was special that you guys didn't mention was when Paul was sitting at the piano sort of teaching a young member of the film crew of how he can pick out a tune or work one already written (at least that's what I recall), and the young guy has this look of absolute wonderment on his face, like he thought he must be dreaming.

Guy's just to let you know a little more on toast..here in the UK toast is much loved..especially with butter and marmalade alongside a cup of tea..so the boys probably would of asked for toast and Jam..the whole rooftop part for me was brilliant..it was so entertaining..I think it would of been a little boring just the concert because there wasn't much really happening between each track.

Hi lads, so pleased with Peter Jacksons film. I just wish the recent box set had included many of the song snippets that were included in the film. Songs like Commonwealth, Madman ,Backseat of my car etc. Hope your all well

Paul is nominated for a Grammy! He deserves it, the song is strong enough and Beck's remix is really one of the best songs I have heard in a long time.

The Peter Jackson interview was out of this world. I have been sharing the link everywhere I go. The interview as well as Warren Huarts Produce Like a Pro review of GB are the better the net.Bravo TWST!

Now, 2023, Paul and Ringo still and perform., still AMAZING. Thank. you

Something which struck me was how relatable the Beatles and their entourage were, like you could bump into them today and they'd not seem out of place. They look so young, colourful and vibrant. Then, late on, we see the outside world, with London as it was in the late 1960s - a very different place with people, clothing and vehicles you just wouldn't see today. The Beatles looked so utterly modern, while outside it was a world you only see now in old films and grainy photographs.

I have always felt John was an underrated guitarist. His often abrasive rhythm playing was most effective within the Beatles. Must say I enjoyed his few solos as well. John did say he could make the guitar talk.

Oh I forgot to say in my last comment I really enjoy your podcast! Great to listen to something tailored for Beatles fans. I’ll be going through your other episodes!

Great show guys. This show always is the best. Peace and love.

You guys say that there’s no mention of what went wrong at the meeting with George. Go back and watch the beginning of episode 2 again. They tell you exactly what went wrong. Paul says John didn’t talk. Yoko did all the talking for him and in the middle of that, George got up and left. If you’ve heard the conversation uncut, there’s a lot of talk about how it needs to be just the four of them again. Paul also mentions that while he and John hadn’t been writing together as much, they completely stopped when Yoko came along. Both Linda and Neil Insinuate that Yoko is brainwashing John because he can’t possible believe the things she says for him or even the things he says(at the meetings). I thought it was interesting that Peter Jackson cut out the more harsh things said but the essence is still there in this doc when both Linda and Paul say Yoko did the talking.

Watching the credits at the end of each episode of the documentary was interesting to me because for the first time in almost 60/years I saw that for certain Lennon/McCartney prior to 1966 MPL communications is listed as copyright owner jointly with Sony/ATV. Do you have more info as to what the arrangements are. Does MPL now own 50% of the publishing of these songs or is it less. It never was made public after the court case initiated by Paul was resolved out of court in 2017. Thank you for your dedication for all things Beatles.

Peter Sellers has met The Beatles at least twice prior to the Let It Be film. He presented them with the Grammy Award for "Best New Artist of 1964" on the set while filming "Help!" (Pub Scene which in on You Tube) and he was also in the TV Special "Music Of Lennon & McCartney".

excellent discussion, as was the previous with Peter Jackson!!!!!. Well done guys!

Gentlemen: Allan, Darren & Ken a great recap on this so fascinating biography, "Get Back." I just want to share that in the summer of 1970 I saw the original film release, "Let It Be." I was 6 years old. The family went to León Guanajuato, México for vacation. One day my 17 year old uncle took me on his Carabela Motorcycle to the movie theatre. I hung on tight 'cause I knew of the Beatles! Having memories listening to the new single releases from Hey Jude onward.1968 was the year I can remember listening to Top 40 music on legendary "Boss Radio" KYNO-Fresno.My memories of the movie was of the long hair, hippies in vogue, the guitars and of course the music. All songs on the album I remember when they were played.in the film! Why? Cause my uncle had "Let It Be" album on strong rotation with Hendrix, Led Zeppelin, Quicksilver Messenger, Vanilla Fudge etc...in any event throughout the years I've only seen it 2 times since 1970. I just want to thank you three for the great interview with Peter Jackson. The great and insightful views, very neutral and unbiased commentary. Once again, thank you all for a great podcast show! Simply the best Beatles Radio Show!

Having been born in '62, the Beatles were those funny guys with those funny voices in that b/w film my local station would air all of the time(WOR in Secaucus, NJ), or the cartoon characters on the Saturday morning shows. When I was in 8th grade, my mom gave me the Beatles "Red Album" as a Christmas gift and I became a fan, as well as learning they had broken up five years earlier. In those pre-internet days, I would try to learn as much as I could about them. "The Beatles Forever" by Nicholas Schaefner was a great resource (you can get a used paperback for $1.00 on line. I purchased a new hard cover through the Columbia Record Club in 1975 or 76). I watched SNL when Lorne Michaels offered the Beatles $1000.00 to reunite, and the following week when George Harrison was musical guest star (and Lorne Michaels tells him, "No, the thousand is for all four of you. I can give you $250.00." George replied, "That seems pretty cinchy." Michaels tells him there is an extra $25.00 for anyone wo says, "Live from New York, it's Saturday Night Live." George looks at the camera and does. It was a time when everyone hoped they would get back, at least once. Had nothing happened to John that December 8, I am sure they would have been together at Live Aid. When episode One began, the opening narrative felt like they were saying, "This is a continuation of Anthology." I was not looking forward to this. I saw, "Let It Be," when HBO aired it around 1976. I agreed with John (his 1971 Playboy interview) that the film was cut to make it look like Paul was in charge. Thepreviews released on KZfaq made it look like more of the same. I watched it anyway and did not regret it. Most moving part for me was when John initiates a hug with Ringo and Paul at the end of Part 1. Near the end of Part 2, I did not want to to conclude. There theyh were, all four, alive and having fun. I wanted it to continue. In the book, Lennon Remembers (the 1971 Playboy interview), he stted that they were thinking of asking Billy Preston to join the Beatles but they did not know how a black Beatle would be accepted by the public at that time. He added, "But then we broke up and never found out." The mysteryt never solved is, why, knowing they were being filmed and the concert on the roof would be seen, why did George wear those green pants? As soon as I saw the name of your YT channel I Subscribed, hit the bell and gave you a thumb up.

On Blu Ray, I hope there is a section of Extras with only the Rooftop performance, another with only the public, and a third with only the police. That mish-mash we got of multiple screens was too full of distractions from the main event.

Great pod cast. Good information.

Guys aren't you forgetting that the Hey Jude performance and tv-broadcast convinced them they could reconnect playing live with their fans and audience. And they had the opportunity: Twickenham, Michael's availability and professionality, etc. That was a band's not just Paul idea.

I agree with Allan regarding the rooftop concert. Because it puts all the inside Twickenham Soundstage and Apple recording studio events in a larger context, because The Beatles were relevant in London, to the people... it is essential to being The Beatles and the phenomenon The Beatles.

: George's Les Paul was plugged into the Fender Twin amp, and his Telecaster was plugged into the Leslie speaker.

Part of them being destined to break up was that George was becoming as good as a song writer and John and Paul. When you have so many members in the same band who can not only write so well, but also play and sing it seems logical that going solo is destined, regardless of the amount of success the group itself has. They needed each other to be "The Beatles", but they really didn't need each other anymore to be successful writing/performing music.

Great Review!! I’m also curious about the India part too but I loved seeing those home movies. Please askPeter next time about that part. I would love to see the Beatles in India documentary with all the home movies.

If you look in the song credits - one song is listed as performed by the Beatles with Heather!!! How great is that.

such a great series and evaluation (initial); would suggest another evaluation of "Get Back" in a year (after frequent research into specific parts) and perhaps another visit with Peter Jackson in a year (to discuss the new insights and additional questions)

I haven't finished episode 2, yet, but already: 1) Those early Lennon-McCartney songs were great! 2) In regards to "our" collective perception of how miserable the proceedings were, there was always that one very pensive-looking photograph listening to the playback of some song where John has his feet up on the console, Yoko is there for some reason, and no one looks happy hearing what they're listening to. There's also that horrible, mind-numbing book called "Get Back: The Unauthorized Chronicle of the Let It Be Disaster" which made it sound like that month WAS the lousiest month with the lousiest vibe ever. Those sessions were certainly conflated with the actual break-up of the band., apparently, in everybody's minds, like Peter Jackson said. 3) Watching Paul conjuring "Get Back" into existence was like watching a miracle take place. 4) That John and Paul "lunch tape" conversation was incredible. 5) Watching Paul attempting to embellish John's very straightforward "Don't Let Me Down" early on was a really interesting sequence. Paul's coming up with 50% good ideas (the drum bits) and 50% not-so-great ideas (the vocal bits and extrapolation of the melody) and that's probably what happened for years. Only this time, John didn't step up to say, "no, it's just a simple thing." 6) Billy Preston! Holy cow, did he bring those songs to life! Forever...I guess I never really gave it too much of a thought...you just thought, "yeah, that keyboard spot on "Get Back" (or some of the other songs) is awesome because the Beatles are awesome." But when you watch it all come together after where the sessions had been...that's another minor miracle. 7) Paul asking John if he "had anything" in the first episode was heart-breaking. Because Paul has nearly a whole album worth of songs that they could work on (including "Two Of Us," "I've Got A Feeling," "Another Day," "Golden Slumbers / Carry That Weight," "Let It Be," "She Came In Through The Bathroom Window," etc), and John maybe has a song or two. 8) Watching this has even given "One After 909" a lot more meaning - they needed some rocking material...and something for John to sing. 9) Who had the wise idea to include "Maggie Mae" and a short snippet of "Dig It" on the original release? Because I'm sure they could have chosen quite a few other songs and they offer approximately nothing to the album.

Now, after we all have been blessed with seeing the AMAZING up close and. personal, "fly on the wall" perspective. Peter Jackson allowed us the opportunity to be the fly. I do not know how many times I have watched now. Favorite for me, Paul and the creative process. and George and Ringo realize"Get Back" the music of. the song. and for us, how AMAZING FOR US! AND SO MUCH MORE Thank you for your insight on George did not realize. Amazing insight on John did not realize. Ringo unsung hero and Paul's synthesia creative process in full bloom. and those AMAZINGfacial expressions and just the raw reality of Liverpool camaraderie.of everyone but, especially John and Paul. I am glad you had a personal relationship with your Dad and he died when George died. I cannot no longer get. Get Back on Disney Plus today, March 19 2022. So, keep watching while you can. Yoko Beatles unraveling Yoko pulling the thread. Thank you for your expertise.Solid band

Having Peter Jackson was almost as historical and informative as the doc itself. Us Beatles fans really won out that he was the one used for this project. He seems as obsessed as a fan as the rest of us and it required that. He literally had the same questions as the rest of us so he did his best to get the answers.

First: GREAT interview with Peter Jackson! (before you three viewed the series). Also, great (small case) analysis post-view. Now, concerning the idea of the rooftop : are you aware that the Jefferson Airplane did a song on an NYC midtown roof 7 WEEKS previous? Cops came and everything. It's on KZfaq.

John shaped up for Mr.Klein not for the Beatles at Apple, probably. Thanks for the review.

One of the highlights (there were many) was when George broken into Reach Out Ill be There when they were playing Get Back hearing the similar rhythm and melody

When Paul called John the leader, it was not just cynical, it was true! Paul knew that without John in the leadership role, the Band wasn't going to get anything done. The fact that even Paul talks about his overbearing attitude, really proves that it was 100% true! Those who say that he needed to be that way to get anything done, need to pause and ponder if that was really true.

Great discussion on this. It’s hard to believe that we have been waiting almost 3 years since it was first announced that Peter Jackson was making a film about this. Now that we have seen I have no other choice but to rave. While no film is flawless, I think that Mr. Jackson did the best job he could possibly do, I definitely see the Beatles in a different light. John was much more engaged than I would have imagined and Paul, while sometimes a little bossy, was much more sympathetic than I would have thought. They still had the magic and passion even if it wasn’t quite like the early days. I am still hoping for a Let It Be release and would love an extended cut of the Get Back film. I was a little disheartened to find out from Peter Jackson that any physical release would be Disney’s call even though Apple owns the content and they didn’t believe people would buy extended cuts. Most people buying these things would be die hards anyway as I really don’t think this was meant for a casual Beatle fan. Thanks so much for these great podcasts!

At 1:13:20 ish you're talking about George mentioning "Reach Out (I'll Be There)", I think he was referring to the drum break just before the chorus where it just does a bar of just the shuffle before "I'll Be There" kicks in big. It seems to me he was suggesting that before the chorus of Get Back.. I probably need to watch it again though..

Every time it said onscreen , “this is the take used for the 1970 Let It Be album” I was thrilled. But so disappointed to only see snippets of the album takes of Two Of Us and Let It Be. Are those in the original Let it Be movie?

Of course Yoko sitting there day in day out was a problem. It would be for any band. But she's not responsible for breaking up the Beatles - that was mostly on John.

I'm going out on a limb here, but it seemed to me that George felt much more comfortable with getting annoyed with Paul than with John. He grew up with Paul. I think that's why he was so hard on Paul because he felt like Paul betrayed George by becoming Lennon and McCartney to the exclusion of Harrison. Paul and George had written in spite of all the danger. John and Paul just were magical together from the beginning. But it seems to me that John held Paul at a distance until Stu passed away. And then Paul was top dog with John. It's like Paul said... It's always been like that with John. He has to clear the decks when somebody new comes on board. And then he had to clear the decks for Yoko by downgrading his relationship with Paul. All psychobabble but I'm a lifelong student of the Beatle college.

Guy with grey beard at the bottom is brilliant on this

Had the honor of knowing Nicky's widow, Moira, during my 1991-2018 Nashville daze...

One problem with GET BACK which you guys haven't addressed perhaps because Peter Jackson was such an obliging guest and promised to come back, is this: Jackson's fitful editing is often impressionistic, presumptuously. So we infer reactions from one Beatle to another, from one Beatle to an incident, which may or may not be contriving cause and effect. Cutaways during songs are sometimes obviously not happening during the number when you start noticing the schism between instruments played then seconds later not even held. When a subtitle tells you this is the version that appears on the album, this implies but does not actually mean you are SEEING the version you are hearing on the soundtrack and on the album right then. Cutaways to Mal Evans are sometimes so contrived that the call-back to Mal is obviously not in the same space and time as what the editing implies he's reacting to. As soon as this wilful editing style imposes itself, it calls into question the inferences you guys are assuming, and mine too. We'll have to wait till all the awards have been handed out and the speeches made and the interview rounds have lost their incentive and for the hype to pass and god help us perhaps another generation of books to be shelved before there's deeper critical comment on GET BACK - - and for Michael Lindsay-Hogg to receive due recognition beyond seeming Jackson's amenable octogenarian sidekick - - I mean beyond a directing credit couched in parenthesis buried under a ton of credits that is so clearly disrespectful right there in black and white that it's bad form for *any* commentator not to notice the disrespect even when Lindsay-Hogg himself is okay with it. But hey, who needs to give due recognition to an easy-going 81 yr old? he's so yesterday. Except he filmed 99% of the material that Jackson trawled and then put in brackets. It's not "footage", it's filming: it's not raw roughage for King Kong's jungle diet. In fact some of GET BACK, for all Jackson's diligent efforts to avoid repeating LET IT BE takes (technically ALL GET BACK Twickenham/Apple scenes are LET IT BE takes, right?), were probably in Lindsay-Hogg's long workprint, before receiving those 3 phone calls to remove material. That focus and those angles were designed by the filmmaker, and I don;t mean Peter Jackson - - and reframing this filming as 'footage' deskills the filmmaking so that Jackson can usurp all plaudits. I'm up for applauding for his mammoth labor-intensive sampling of all those reels and all that knowledge, but it doesn't amount to directing. That's where my article goes, and it goes there beyond polemic, because someone has to start to redress this gross imbalance in credits, and that's where the next round of revisionism will start when people wake up from the glorious hype and the sycophancy pipes down. You guys hardly mention the original director beyond his role as supporting actor in another blockbuster director's 'project', and Jackson's mentions of his 'friend' have been downright patronising for the last two years. None of you are going to like this wake-up call now, of course. 5 or 10 years from now, probably in everybody's sentimental obits, things will be different. I'm only a little sorry to be so chiding, fellows, but not enough to withdraw the comment. It's a bad and ageist precedent that goes beyond this case no matter how amenable Michael Lindsay-Hogg is to being so sidelined, and I've pulled many punches so I don't blow the whole article right here. 1:39:00 - Yoko's involvement we know from the Nagra tapes is really sound critical comment, and the subsequent comment about what triggered GH remaining unexplored is sharp, too. By the way, 1:18:00 - - true enough, split screen simultaneous framing was the way to go, and it's contemporary because there are precedents. Jackson is taking a lead from 'Woodstock' (1969) which was taking a lead from 'The Thomas Crown Affair' and 'The Boston Strangler' (1968), so if we're going to trot out the word 'genius' we're going to have to start with Norman Jewison/Hal Ashby on down. And earlier still: a nod to John Frankenheimer, GRAND PRIX, 1965.

Other observations: Lennon mentions "Beatles & Co." many decades before the formation of "Dead & Co." The song that is credited on the Esher Tape portion of the Super Deluxe White Album Box Set as "Child of Nature" (later to be rewritten and renamed "Jealous Guy") is credited here as "On The Road To Marrakesh" in the chyron (and Lennon later states in the film that the title is "On The Road To Marrakesh"). On the Esher Tape, however, the opening lyric is "On the road to Rishikesh." And so presumably in the months following the Esher Tape, perhaps John wanted to make this song less directly about his time with Maharishi. As for "Suzy Parker," in the artwork for multiple 1970s bootlegs of the Nagra tapes from this film credited the song as "Suzy Parker," but we later learned it was actually entitled "Susie's Parlour." But now, once again, it's back to "Suzy Parker" in Jackson's Get Back film.

I’m not sure if anyone has ever wondered why Paul leaves mid session at 1:30 on Jan 28 for a business meeting upstairs when he could have scheduled it for a more convenient time. He’s virtually never significantly absent from these sessions at any other point. My supposition is that John had told Paul about his meeting with Klein the previous evening and how Klein was going to managing his affairs from now on, and Paul was hurriedly seeking legal advice.

The real cause of their break up is that John was hipnotized not by Yoko, but by Allen Klein. The scenes of him talking about this New York wolf demonstrate it .

Being on heroin doesn’t inhibit someone from making music. Lots of music came from heroin addicts. But heroin isn’t a take it today, clean tomorrow type of drug. Not like smoking a joint. If you’re on heroin you are taking it daily or the withdrawals will set in. Sometimes the effects are more apparent than other times. I think John is clearly on heroin and more high in certain scenes than others. It’s really when he seems extra “chilled out” that it becomes obvious. However that doesn’t mean he wasn’t engaged. He was very engaged especially after Twickenham. But that didn’t stop the heroin usage. If he stopped heroin he wouldn’t have been able to work at all until it was out of his body. Several days. So I think he was on heroin the entire time, but only at certain times is it really obvious and for the most part it didn’t disrupt his work. The very last clip with him in the floor during recording of Let It Be I think he seems very strung out. But it’s a drug where some days it’s more obvious than others. But if he didn’t take his dose at any point he would have immediately set into withdrawals and then he wouldn’t be able to work at all for like a week. Cold Turkey is definitely unquestionably about heroin withdrawals

So we have seen approximately 10 hours of film covering Let it Back and Get Back. Different portrayals and conclusions can be made depending on which one you saw. The power of the director is in their ability create a story that is memorable , significant, and entertaining. I wonder if another director were to take a crack at the task that Peter jackson was faced with…would there be significant revelations or a different story that could have been told? We may never know.. Regardless, GB remains one of the most significant archival documentaries ever created.

Yeah, I thought that Paul actually showed his resilience in sooo many instances! I cover though instances in my own review. But what about all those amazing possible vocal bits by Paul during the film?!?

@1:00:00 I got the impression that they had complained the prior day about not being able to hear the piano, so that prompted them to turn up the PA. But it had all of the instruments being fed to it instead of one piano channel, which really affected the sound. I'm not sure if the piano was a newly introduced to the studio or if maybe it had just been getting more use as Paul was working on his two ballads. It's really hard to guess at what songs they worked on on which day because we only get a smattering of each day. From the film, you'd think that the entire soundstage practice was just working on only two songs.

Once again, Darren cracked me up during this show. Seeing Heather Eastman naturally have so much fun with John, Ringo, and everyone it's a shame that John didn't get to spend more time with her as they both got older. There's so much I missed only seeing the whole thing once but what I saw was amazing. Peter Jackson is clearly a genius because several times he uses only audio but using trickery makes you think someone is moving in the film. You could tell that John and Paul really were best friends because he was so mature in the way he accepted that John loved Yoko and that he wouldn't choose the band over her. I got increasingly annoyed with Michael -Lindsay Hogg throughout because he really acted like and uptight director.

Riffin' on not a lot of mentions during the Get Back sessions about the White album, the original, original concept for the Get Back project was the Beatles rehearsing for a planned concert at the Roundhouse in London to play songs from the White Album. Also, a lot of the White album songs were played during the Get Back sessions. Martha My Dear, Blackbird, Revolution, Back In The USSR, Dear Prudence, Child Of Nature, Hey Jude, Ob-La-Di, Ob-La-Da, and Sexy Sadie all get played to varying degrees during the Get Back Sessions.

When George relates something about “ Reach Out , I’ll Be There “ - Four Tops to Get Back , I think he’s most likely referring to the persuasion figure in the intro. Dum, tikkuh, dum tikkuh , dum tikkuh….. It’s same rhythm Ringo plays through all of Get Back which is actually much closer to the beat of “ Ten Penny Blues.”

I want to see the other 53 hours of footage 😃

I wonder if Peter Jackson approached Patti regarding the George walkout situation. She was at the London Premiere.

I kinda thought that the meeting Paul was having with Dick James may have pushed George even farther along the quitting path. He rightfully felt that he was getting shafted. And Patti had left him, I believe, the night before he quit?

Regarding the Peter Sellers clip in Get Back. I have a bootleg of black & white outtake footage. During Sellers visit he asks the Beatles a few times if they have any pot. That portion of the conversation is not shown.

The case of Glyn Johns is interesting. I confess that George Martin was an angel to submit himself to a guy like Johns.

A mini Get Back moment in the news portion of the video....ha ha

COMPLETE GOOSEBUMPS AS THE NEW SONG IS EXTRACTED FROM PAUL'S BRAIN.......then John rocks up!

I loved watching the creative process. Sub to Disney just to watch after listening to Rich Roll review. i under estimated the Beatles i must say.

The rooftop “concert “ was not a “concert “ it was a performance piece designed to end a movie. I’m sure the reason Paul resisted the idea in the first place was it’s a not a proper “concert “. I suspect he wants to do what the band did in 1976. Go out in a blaze of glory with Billy Preston and Eric Clapton. Both of whom I think played at the 1976 show !

Does anyone know how I could get the Nagra tapes? Are they available anywhere?

Any chance you could use thumbnail pictures for each video? As it is, your home page is just a sea of Union Jack flags with different descriptive text underneath. Pictures would enable me to navigate to the video I want so much more easily. ( Plus, your home-page looks like a UK Government public information service....not a good look for a Rock n' Roll channel) Thank you for all the great content!

@30:05 Yes. George feels marginalized but…some context here: It’s Get Back-to what? To their song writing roots and live performances…when it was John/Paul songs based on rock n roll. George’s All Things Must Pass is genius but a different mix of genius than a rock concert vibe. It was George who, in week 4, pulled the plug on ATMP, not the others.

John said he and Yoko never shot herion but sniffed it. Not to say that is much better as it is still being addicted to a strong pain killer I also feel it was overblown and never was as big of a problem as implied. It is tough to quit but you would be surprised how many functioning addicts there are. Cold turkey is tough but people can and do quit that way.

Just found out about this. I am 350 + episodes behind ! Do you think maybe their motivation for Doing Get Back/Let It Be because of their financial situation ?

The only thing I didn´t like in this fantastic and epic documentary is that I wish there were the complete takes of the finished recordings, particularly at the rooftop.

The Ballad of John and Yoko Ono🤵👸

Mal Evans - Mr. "White Cliffs of Dover?" from the Help! movie...

Anybody notice Ringo putting up pictures his kids drew.

This blew my mind. To me it makes the Let It Be movie obsolete!

Get Back v Reach Out - similar bass lines, perhaps?

McCartney seems to have borrowed the "GET Back" line from Big Bill Broonzy's protest song "Black Brown And White". The song was recorded in 1951. Maybe he had heard it on the Broonzy live in Copenhagen album that was released in 1969. And anyway, it was a fake moustache.

Re "Get Back" "Reach Out I'll be there ", Get Back employs near identical rhythmic groove and bass of chorus of "Reach out I'll be there" - I hear where Beatles were inspired from that 1967 Four Tops tune kzfaq.info/get/bejne/aKuRmc-JlbO7gqM.html

I was wondering if Paul got any songwriting credit privately for “Gimme Some Truth,” because it looked like he had some input into helping John craft it

Interesting discussions! I am always confused when I hear dudes talk about how John was "leading" or whatever at Apple ... like, he stepped up to do the bare minimum as a partner to Paul -- I think that's what has Paul so relieved, that he has some backup in the direction department. But all the non-Beatle characters in the project seem to still go to Paul for direction, while Paul has to try and make sure to try and include John so John doesn't do a hissy. I dunno. That's that scene of Paul saying "get Back is the song we all like" and John says "well *I* like my songs" and ... it kind of sounds like a teenagery bid for attention to me, more than a "boss" move. I wonder if this boss stuff is a guy thing, or if some fans were really hoping John would be shown in a leadership role and so are stretching to make that fit? I'm earnest here.

even back then it was probably cheaper to pay for a parking fine on Savile Row rather than Parking fees for the day and its a lot more convenient and its the beatles I doubt the gave a frig.

I saw a thing about old silent video of Hitler was able to be transcribed using new tech that can read lip movements, wonder if this can be used for parts of this that we don’t know what they were saying.

Should have invited Paul in your chat group.

A lot of gaps in the conversation, was there no plans to the questionnaire ? It's like a book.with blank pages! 80/20 rule 80% prep, 20% presentation!

Also, After breakup early 1971 ? J Y episode Dick Cavitt. And. Another swith George. On KZfaq

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Why would Dick James buy a catalog for Northern Songs where he would have to share as opposed to for himself?

Beatles will always be remembered as the Greatest band ever along with Dylan as far as social relevance , but there will be more Grateful Dead music played by bands for a hundred years going forward---interesting

The behaviour of Lennon towards George at Twickenham was quite hard to fathom- he helped him with lyrics on All Things Must Pass, yet was totally dismissive about I Me Mine.

56:48 come on! there is even an interview made at Twickenham during the Gat Back session where John leaves to go pucking and he even mention it in the film. You guys seems to not know really a lot of things.

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Ken.Micha4ls,.would.you ever get a "Fill in Light" for your hidden fave in the dark! When will the penny drop....if it doe drop you won't find.it in the dark!

Excellent podcast. Buuuut…@ 28:00 the comment goes a bit backwards to the dark (now debunked) myth of twickenham as John/Paul vs George. Yes George did feel marginalized BUT during Week 1’they took up George’s All Things Must Pass, several DOZEN takes, John/Paul fully engaged; AND J/P realized it (the flower pot mic) and made amends; AND later at Apple HQ in week 4 it’s George who pulls the plug on the song, not the others.

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If Billy actually joined I think Ringo would have gotten fewer songs on future albums.....

Jimmy Nicol never performed in Sweden. Paul must have mistaken Denmark for Sweden.

Oops, I'm a Rolling Stones fan.

Granted John has said a lot of things to be taken with a grain of salt he has been recorded saying he was pretty much done with the Beatles by the White album and that he felt married to the Beatles and wanted to be married to Yoko instead. So perhaps if Paul didn't push it they may have drifted apart after sooner. Of course either way it would have went much smoother if they didn't lose Epstein. As well it could not have been easy for John to leave or he would have much sooner. When you start they way they did and make it to that level of success and with people you really love it has to be tough to walk away. And it is not going to be from something like an annoying girlfriend. It took much more then that.