BLUE KANGAROO BK 6903 CD
Sound Quality:
Very good-excellent
Source:
Apple studios Jan. '69
Total Time:
60:14 (remastered)
Artwork:
First generation (8-9)
Record Company: Blue Kangaroo BK6903, Country: EEC, Year: 1991
For more information about the DDSI numbers see "Get Back (the Unauthorized Chronicle of the Beatles Let it Be Disaster)" by Doug Sulpy and Ray Schweighardt.
| No. | Title | DDSI |
|---|---|---|
| 1 | Don't Let Me Down | 6.18 |
| 2 | Don't Let Me Down | 6.19 |
| [Don't Let Me Down] | 6.20 | |
| [Don't Let Me Down] | 6.21 | |
| [Don't Let Me Down] | 6.22 | |
| [Don't Let Me Down] | 6.23 | |
| [Don't Let Me Down] | 6.24 | |
| 3 | Oh! Darling | 7.39 |
| The Long And Winding Road | 7.40 | |
| Maxwell's Silver Hammer | 7.41 | |
| [Maxwell's Silver Hammer] | 7.42 | |
| [Improvisation] | 7.60 | |
| A Shot Of Rythm And Blues | 7.61 | |
| 4 | Back Seat Of My Car | 14.20 |
| [Improvisation] | 14.21 | |
| "It's Just For You" | 14.22 | |
| ["It's Just For You"] | 14.23 | |
| {Clear As A Bell}/["As Clear As A Bell Says La Scala, Milan"] | 14.24 | |
| Hello, Dolly | 14.25 | |
| Oh! Darling (incomplete on Anthology 3!) | 27.1 | |
| Get Back | 27.2 | |
| {Once Upon A Time} | ||
| [One After 909] | 28.4 |
Many thanks to A. Bergsma (bergan@dds.nl) for this tracklisting and DDSI numbers.
| Twickenham Film Studios | ||
|---|---|---|
| January 6 1969 | ||
| Don't Let Me Down | 0.52 | Fades in from the middle eight. Camera crew: Roll 39 Slate 80 Paul: Hey Lord, nobody really loves me like she does... John: See, we really got to think about that...the worst bit now. |
| Don't Let Me Down | 0.22 | John sings the middle eight, with Paul singing off mike. |
| Don't Let Me Down | 0.33 | John repeats the middle eight, without Paul
singing. He continues into the next verse. Paul: Shall we sing, like repeating? John: Something like that, yeah. |
| Don't Let Me Down | 0.13 | Paul now begins working on a melody for the backing vocals. John joins in for one line. |
| Don't Let Me Down | 0.52 | Both John and Paul sing the middle eight,
continuing onto a guitar solo over the verse and a ragged chorus which
collapses. John: What can we do to that bit then? George: Its nice, the vocal line's nice and the harmony of those few lines is nice...maybe we could change the rhythm John: Yeah, its really like where the piano would come in. |
| Don't Let Me Down | 0.21 | John sings his vocal while Paul and George offer wordless vocal harmonies. |
| Don't Let Me Down | 0.22 | Paul tries to fill in some lyrics Paul: Sing, but not the same words... |
| Don't Let Me Down | 0.30 | Paul again starts from the middle eight, joined
by John, again trying to fill in the lyrics. John: Yeah, something like that Paul: George, sing something like 'love for the first time in my life, so don't you let it get away' George: Those are the words? |
| Don't Let Me Down | 0.10 | Paul demonstrates how the words fit the middle
eight. Paul: Its nice though, I mean, corny's alright in this one, because what he's doing is corny...thats the thing that will make it not corny, if we sing different lines. George: OK, just sing me the riff. |
| Don't Let Me Down | 0.24 | Paul again shows George the harmony vocal, while
George tries to pick out a countermelody. Paul: If you want to have 'no past', have 'love that last forever and a day' George: Sing it again. |
| Don't Let Me Down | 0.32 | Paul and George again sing behind John's vocal,
which breaks on the final line. John: Its something like The Drifters... |
| Don't Let Me Down | 0.18 | Paul now introduces a descending bass line, with
John and George joining him on wordless vocals. John: Maybe we should go into Latin for it. |
| Don't Let Me Down | 0.26 | George works on the guitar part and countermelody. |
| Don't Let Me Down | 0.18 | Paul shows John the descending bass riff. |
| Don't Let Me Down | 0.58 | Paul again repeats the bass riff, leading into a verse and then the middle eight, where all three sing. |
| Don't Let Me Down | 1.05 | Paul plays the middle eight, while he and George work closely on their harmonies. They repeat with John occasionally joining in. |
| Don't Let Me Down | 0.26 | Paul and George again work on their vocals. |
| Don't Let Me Down | 0.15 | Yet another attempt at the middle eight by Paul
and George Paul: I sing one note and George can sing another one. George: You mean at once? Paul: Yeah, three things into one, but it wouldn't be corny. John: Yeah, I was thinking about this three mikes bit...I was watching that pop film on BBC2...they never joined in a group... Paul: But we've all got mikes...Glyn will tell us. He'll take care of it. |
| Don't Let Me Down | 0.22 | John sings his vocal in falsetto |
| Don't Let Me Down | 0.26 | Paul leads them off again, John again singing in
falsetto. Paul: The words arn't that good. John: I thing the words should be corny, because there's no clever words in it...I think we need the speakers back nearer caus' you can't hear what you're singing. |
| Don't Let Me Down | 0.14 | Paul and George again try their vocals. |
| Don't Let Me Down | 0.06 | Tape cuts this rehearsal short. Camera crew: This is Roll 40 Paul: Just do it from the beginning |
| Don't Let Me Down | 0.27 | Paul and George sing harmonies to John's lead
vocal. George: Kevin, have you got a pencil? John: If they can get their lines, their harmony...we can get it. Its pretty scary. |
| Don't Let Me Down | 1.04 | John ad-libs his vocals during the middle
eight and ends the song with a 'primal screaming' session. John: (singing) I'm in love for the first time, and don't you know its pretty scary, I get the horrors every morning about 9 o'clock when I get my toast and my tea. Camera crew: Sync 81. Paul: Lets do it at the real speed. |
| Don't Let Me Down | 0.08 | Mainly an attempt to work out the tempo to play
at. John: Maybe we should have an intro, so as we all know... |
| Don't Let Me Down | 3.27 | Finally, the group returns to the beginning of
the song and runs through the whole piece. John: I thought if you get some bits to play, it would be nice...rather than just fiddling about. George: With the footpedal, it sounds good ...normally, I use a clean edge. It sounds like the same old shit. John: Well, I like the same old shit. |
| Don't Let Me Down | 2.47 | John tries to sing the song at a faster tempo, imitating Dylan during the middle eight. |
| Don't Let Me Down | 0.08 | Another breakdown as Paul gives instructions to
Ringo. Paul: Different beat, and onto light things like cymbals... |
| Don't Let Me Down | 0.36 | Paul again tries to get things going. Paul: It needs things to happen... |
| Don't Let Me Down | 0.32 | Ringo really emphasises the beat this time. |
| Don't Let Me Down | 0.04 | Another short attempt as they try to work out
Ringo's part. Paul: Sort of airy, like on the top cymbal George: Or you could do the rest of the tune pretty down and do that bit very heavy. John: Well, the choir bit...them's all quiet, and 'don't let me down' is heavy...this should be different, quite heavy |
| Don't Let Me Down | 1.11 | George and Paul play a rough guide while Ringo works out his rhythm. |
| Don't Let Me Down | 0.28 | John and Paul sing two verses. Paul: (to George) It should be sustained over that...so that we can split up, so that you're doing the chords, like an ave maria sort of thing. |
| Twickenham Film Studios | ||
| January 7 1969 | ||
| Oh Darling | 0.46 | George struggles to find the right key to play bass
in. Paul's piano is well back in the mix until the second verse. This
attempt breaks down when George stays in B flat when the piano goes to G
minor. Paul: G minor...can't they put these mikes on booms coming across here, caus its in between your legs, and you can't do it...you know what its like with something between your legs. |
| Oh Darling | 0.19 | Paul continues to give George instructions. |
| Oh Darling | 1.50 | Paul picks up from where he left off, repeating the first vese and then singing the middle eight. George occasionally sings backing vocals, noting the similarity to Elvis Presley's 'One Night'. Paul stops singing in the final verse, and then runs through the ending chords. |
| Oh Darling | 0.21 | Paul shows George the rhythm for the intro |
| The Long And Winding Road | 0.34 | Paul quickly runs through the chords of this song as George adjusts the volume of his bass. |
| Maxwell's Silver Hammer | 0.36 | George, John and Ringo run through their parts, without Paul's piano, giving a somewhat C&W feel to this song. |
| Maxwell's Silver Hammer | 1.24 | Paul now joins in, although his vocals
are off mike at first. Paul: I don't like the waltz... Ringo: Only thing I remembered in the whole piece, ha ha. |
| Maxwell's Silver Hammer | 0.57 | Paul hams up his vocal, having difficulty with feedback. |
| Twickenham Film Studios | ||
| January 7 1969 | ||
| Camera crew: Roll 63 Slate 122 Lindsay Hogg: Get the audience to sing along Paul: Yeah. John: Whatya doing? Camera crew: Taking away your mike. | ||
| A Shot Of Rhythm And Blues | 1.45 | John starts singing, accompanied only
by guitar. His vocal is off mike, and hard to ehar, especially when Paul
and Ringo join in on their instruments. George: They took the lights down John: Milk, glass of milk. |
| Twickenham Film Studios | ||
| January 14 1969 | ||
| Back Seat Of My Car | 0.47 | Paul is accompanied only by piano. He sings
the lyrics for the title, as well as a vocal bass line. Camera crew: Phone Paul: Who's it from? |
| Piano Tune/Lady Madonna | 0.16 | Improvised piece, ending with the main riff from Lady Madonna. |
| This Song Of Love | 0.22 | Also known as 'Its Just For You'. Sung in falsetto, with lyrics such as 'Its just for you that I sing this song each morning...its just for you that I sing this song each night.' |
| This Song Of Love | 0.22 | Paul picks up where he left off |
| This Song Of Love | 1.30 | Paul now adds two new verses, much to the
amusement of both himself and the film crew. Lindsay-Hogg: Nice. Paul: Thank you Michael Lindsay-Hogg, director of this epic. |
| This Song Of Love | 1.03 | Paul adds a few more verses, singing the ending in an operatic style, albeit grossly out of tune. |
| This Song Of Love | 0.49 | Now in the mood, Paul sings the whole piece in an operatic style, again ending firightfully out of tune. |
| This Song Of Love | 0.55 | This version Paul plays in a jazz tempo,
slurring the lyrics. Again, the ending is terrible. Camera crew: Do you remember when an album was first recorded, it was the great publicity bit for a twelve, it can;t be played east of New York because of the copyrights. Paul: The only publicity bit I heard was he got an opera singers top note as clear as a bell says La Scala, Milan |
| As Clear As A Bell (Says La Scala, Milan) | 0.19 | Another operatic ad-lib from Paul |
| Hello Dolly | 1.23 | Paul's version leavs much to be desired, as he plays only the rudimentary chords. |
| Apple Studios, 3 Savile Row | ||
| January 27 1969 | ||
| Oh Darling | 4.43 | A full band effort, with John singing low harmony
vocals behind Paul's lead. John: I've just heard that Yoko's divorce has just gone through...free at last |
| Oh Darling | 1.47 | John, in a celebratory mood, breaks into song,
ad-libbing words to Paul's composition John (singing): I'm free, this morning, we saw the lawyer, its OK... |
| Get Back | 0.18 | Ringo taps out the rhythm to Get Back and Paul sings one line. |
| Apple Studios, 3 Savile Row | ||
| January 28 1969 | ||
| One After 909/Jo Jo Gunne | 0.52 | After Paul plays a persistend riff,
John ad-libs a vocal, borrowing from Chuck Berry's tune Jo Jo Gunne. John: (singing) Once upon a time there was a woman who was living underneath a tree...and everyine thought she looked just like a little monkey. |
Bibliography D. Sulpy and R.Schweighardt, "Get Back (the unauthorized chronicle of the Beatles Let It Be Disaster"", The '910', Princeton Junction NJ., 1994, pp.(2.1)-(31.7)
Thanks to Malcolm Atkinson (atkinson@actrix.gen.nz) for providing this tracklist and details. Scan by Harald Gernhardt.
