Get Back Book

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<ul><li><p>THE BEATLES GET BACK</p><p>The lyrics, or extracts therefrom, ofthe undermentioned compositionsare produced by permissionof Harrisongs Limited</p><p>Copyright for the World Harrisongs LimitedFor you Blue/1969All things pass/1969</p><p>The lyrics, or extracts therefrom, ofthe undermentioned compositionsare produced by permissionof Startling Music Limited</p><p>Copyright for the World Startling Music LimitedOctopus's Garden/ 1969</p><p>The lyrics, or extracts therefrom, ofthe undermentioned compositionsare produced by permissionof Northern Songs Limited</p><p>Copyright for the World Northern Songs LimitedYou've Got to Hide YourLove Away/ 19651'm Only Sleeping/1966Magical Mystery Tour/1967Hey Jude/1968Back in the U.S.S.R./1968Blackbird/1968Maxwell's Silver Hammer/1969Get Back/ 1969Carry that Weight/ 1969Don't let me Down/ 1969Dig a Pony/1969Two of Us on our way home/1969I got a feeling/1969One after 909/1969</p><p>Copyright 1967 by Dwarf Music, Inc.New York U.S.A.Reproduced by permission ofB. Feldman and Co. Ltd.I shall Be released Bob Dylan</p><p>Designed by John KoshProduced by Neil AspinallAdditional materialsupplied by Mal Evans Published1969 by Apple, London Printed inEngland by Garrod andLofthouse International LimitedCopyright 1969 for the world byApple Publishing</p><p>Photographs by Ethan A Russell</p><p>Text by Jonathan Cottand David Dalton</p></li><li><p>Things as they areAs a dreamAs they are as a dream</p><p>Paul: I think we're getting thewrong idea about the film. It'slike in the Stones' Circus.I couldn't really get into that. Itwas an 'event' and that kind ofthing is all over. I say, just stickon it and leave it. Just leave theshot and the whole bit and notjust this excellent littlemovement. Like onRingo. He does this and hedoes that and it's all great, andthat to music.Linda: Like a study.Paul: A study, yeah, likePicasso paints. You just saw thewhole thing right there. Thesesongs are our paintings. Get verybright lights so you seeeverything, instead of moodylighting, that kind of thing. Witheverything here, it hardly needsscenery. Really, it all should beabout him and his drum kit. Lookat his drum kit, it really looksgreatbeautiful sitting there. Then Johnand his guitar and his amp, sittingthere, actually showing it at thatminute. The scenery would just bethe other things around, like thescaffolding, the other cameras. It'slike in a news event. The manshooting isnews, not the man on the groundafterwards. I'd really like to look atPete Townshend's face; hefascinates me . . . like on 'Jude'the little screams were moreinteresting than the postman. Ifyou can think slow, not bang!bang! bang! Instead of getting allthe pacing, a chair lift, the flow,the pace is already</p><p>there. You can glide down fromthe roof on a one shot on toRingo's face, float around, beingcareful not to miss anything. It'slike Warhol's things; he goes tothe other extreme, but he reckonsthere's a pace in 'Empire'. Even aTunisian amphitheatre can beboring. I don't digunderestimating what's here. If it's going to be scenery, we shouldgo the whole way and getgalloping horses. You should getreally close up, like right into oneof John's eyes. Can you do that?That direction, rather than Johnand the moon. Linda: The worldis dying to see them. I've neverseen a study of them. You wantto be there. Lindsay-Hogg: I justthought of going to Africabecause we colonised it.Paul: But we could have like agame of musical chairs, acomputer set up with chairs. You've got the scenery here. It's like 'The Potter's Wheel'; they'd makea pot before your eyes. Thecamel won't be doing anything 'live'; you'll be lucky if you catchhim crapping on camera.Linda: It's like being a greatphotographer. Like there areonly certain men I'minterested in photographing. Ican't photograph women at all;it doesn't involve me .. . Well,maybe like Greta Garbo. Paul:If you go away, you're going tobe hamstrung by the scenery. Ifyou could shoot the steadiness,like you're flying o v e r . . .Lindsay-Hogg: What was yourfavourite of the TV shows?</p><p>Ringo: Around the Beatles. Paul:. . . just sit back in a wide shot,then go to someone, like a newsevent.Ringo: I'd like it like a Countryprogramme where you have onecamera, just step in and do yourbit, like on the Grand Ol' Opery,Flatt and Scruggs; they'd allmove in when their solo camearound and take the centre sothey acted out the shots.Paul: It bugs me when they zoomin and out. I'd like it to be like anold movie. If you want to sayanything, you walk up to thecamera. The only thing thatdoesn't need to move is thecamera. It's like oriental medicineand western medicine. Weprescribe for the symptoms; theyare into preventing it. It's like aswitchget us to do themovement.Ringo: They asked some peopleto stand by a wall, just standthere, not do anything, but theycouldn't do it. They all had to dotheir bit, all the old jokes we usedto do and that .. . Kids always winon those. Paul: Dreaming inpublic is the thing. You knowthose dreams where you go downa Helter Skelter? And the scenechanges? But doing that awake.The latest thing from Apple!</p></li><li><p>Paul: Can you play that backnow, Glyn?Glyn: Coming up.Paul: The thing I don't wantis a TV show. They always seemto have that farty little sound onTV.Glyn: Don't forget you'rehearing it on a TV speaker,which is a grotty speaker, butyou can get a good sound.Paul: But even so, wheneveryou used to get Cool for Cats,when they played the record oranything, you'd hear theold mine shelves, in the old days.Don't let me downDon't let me down .. .</p><p>Paul: Hi Ringo. Hi lads.Ringo: Hi. Happy NewNew Year.Paul: It's the happiest belatedhogmany for marmalade.John: It's a feeling . . . it'senough to make a haggis growlegs; but tonight we'll celebrateon Irish Whiskey said GenePitney, the only Sassenach inthe group.Paul: I tried to call you thismorning.John: I know, I complained tothe operator about it.Paul: I get the horrors everymorning about 9:00 when I getmy toast and tea .. .JUMBLE OF VOICES(Tuning up, drums, cymbalstintinabulating, a riff getsmoving. John, Paul, and Georgesinging 'I Shall Be Released')They say everything can be replacedThey say every distance is not nearYet I remember every faceOf every man who put me here.George: It's echoing; we havea bit of echo. We could get aPA like in the Top Ten inHamburg.John: (singing) Don't bringme down .. .Paul: It's the first time I thoughtit was this high; I thought it waslow before. John: I think it'swhen you're trying to sing over . .. You see I've no order for it atallfor all the bits. I'm just goingto see which should come where. . . Don't bring me . . . Paul: Thepoint is, are we going to do it,can we do it? John: We've beentrying. Paul: I think we shouldlearn it then, see what's needed.The idea of a piano does limit it.</p><p>always think that soundsfunny, like having trumpeters.'singing)Don't let me down .. .f you could have 'Don't letme down', say, twice at thebeginning. It sounds like amiddle 8 all the time. I wouldn't ;crap that; use it somewhere nearthe end.John: We'll do it a couple ofmore times right through.George: Do you want us tosing in unison or harmony?Paul: Harmony.George: We'll need three mikesthen.Paul: Something like (singing):Love for the first timeSo don't you let it get awayIt lasts forever and a dayStart off with a corny one.John: I think the words shouldbe corny 'cos there's no cleverwords in it.Paul: Just repeat what you weredoing, but not as high as we weredoing it. (singing)I'm in love for the first time in</p><p>my lifeDon't you know it's going to last.George: The corny bits Ithought were the notes, howwe were doing it, not the words.Paul: Let's try it again and see ifit's all right.Don't let me downDon't let me downGeorge: That bit is even cornier;the harmonyit's too pretty.Paul: We can make it better aswe go along. Do it once more. I,2, 3, 4,I'm in love for the first timeGeorge: That one was great. Trythis, it's these three, 1st 2nd 3rdfret, an open bottom E .. . Don'tlet me down</p></li><li><p>In a Play Anyway Date:2nd January 1969</p><p>Location: TwickenhamFilm StudiosCast:John LennonPaul McCartneyGeorge HarrisonRingo StarrDirector:Michael Lindsay-Hogg,Yoko OnoLinda EastmanSound Engineer:Glyn Johns,Malcolm EvansScene: A large sound stage atTwickenham. At one end, a giantsemi-circular backdrop screen,curling around 180 of space, withcolour like light under water. Thecolours on the backdrop screenglow side by side: red, green,purple bands, a technicolorrainbow. A spacious platform isset up in the centre. Ringo,wearing a turtleneck, is sitting highup on the drum rostrum above apyramid of drums and cymbals,Below, a triangle of chairs facinginward. George with moustache,beside him a table with a bowl offlowers. He is wearing a pinstripedshirt and a red scarf that remindsyou of the cowboy photos of himin the first Beatle concert book.John, dressed in white, wearingsneakers, peers through glass likea wise old fish, like St. Augustine,like John Lennon. Paul has not yetarrived. In the half-light, the crewmove about furtively, four cameramen, clapper, grip, boom men,around the rostrum and the</p><p>little group of chairs that floatslike Huck's raft on the blue-black ektachrome floor. Thedirector, Michael Lindsay-Hogg,in a brown pin-striped suit,smoking an early Hollywoodcigar, wears his '30s. Yoko'sin black, visible, invisible, silentlypresent. Her hair, Noh curtains.Drinking tea from a styrofoam cup,picking nervously at her hands, aBird of Paradiseperching for a moment on anelectric wire. Glyn, immersed insound. Indispensible Mal,Beatles oracle, 'Where are themachines from EMI, Mal?''Get me some more of theseheavy gauge strings', a friendlygiant.Lindsay-Hogg: Cut! Itake 2 silent turnoverJohn: (singing: his voice likea nasal organ)Don't let me downDon't let me downDon't let me downDon't let me downI'm in love for the first timePlease don t let me downDon't let me down Don'tlet me down Don't let medown Don't let me downNobody ever loved me likeYou doIf somebody loved meHalf as much as you do meAs you do .. .(The sound is hypnotic. Wordsdrift sleeping into each other'azure doomy' ('as you do me').Paul arrives, bristling blackbeard, in a grey overcoat,disguised as God. This camouflageallows him to travel undetectedinto town on the 74 bus fromSt. John's Wood.)</p></li><li><p>Charity Begins at Home Paul: Imean we've been very negativesince Mr. Epstein passed away.That's why. We haven't beenpositive. That's why all of us inturn have been sick of the group,you know. There's nothingpositive in it. It is a bit of a drag.The only way for it not to be a bitof a drag is for the four of us tothink, should we make it positveor should we forget it.John: The whole point of it iscommunication. We've got achance to smile, like 'All YouNeed is Love'. So that's meincentive for doing it. Lindsay-Hogg: 'All You Need is Love'and 'Hey Jude' didcommunicate.Paul: Of course they did .. .There really is no one there tosay 'Do it!', whereas there alwaysused to be and we would sayforget it. But it's us that have gotto get us up ahead now ... It's likewhen you're growing up and thenyour daddy goes away at acertain point in your life and thenyou stand on your own feet.Daddy has gone away now, youknow, and we are on our ownlittle holiday camp. You know, Ithink we either go home or we doit. It's discipline we need. It's likeeverything you do, you alwaysneed discipline. We've never haddiscipline. Mr. Epstein, he said,sort of 'Get suits on' and we did.And so we were always fightingthat discipline a bit. But now it'ssilly to fight that discipline if it'sour own. It's self-imposed thesedays, so we do as little</p><p>as possible. But I think we needa bit more if we are going to geton with it.George: Well, if that's whatdoing it is, I don't want to doanything.Paul: Well, you see nowadaysyou've grown up and don't haveto do that any more. You don'thave to put the pancake on andgo out front and sweat and shakeyour heads because we're notthat any more. We've grown up abit. So what I mean is, we did itthen, but it doesn't mean to do itagain we have to do all that. Ithink we've gone a bit shy. I thinkI've got a bit shy of certain things.Lindsay-Hogg: I guess thedifficulty is getting up in front ofan audience with all you've donein front of you. Trying to getsomething as good, but maybenot the same thing. It's a veryhard thing to get back In otherwords, you musn't think of gettingback what you had.Paul: Desire to do it. It's like withall these songs; there are somereally great songs, and I just hopewe don't blow any of them.Because you know how often onalbums we sometimes blow oneof your songs because we comein in the wrong mood and you say'this is how it goes. I'll be back,'and we are all just goingchugachugachugachuga .. .George: Really, I don't want to doany of the songs on the showbecause they always turn outawful like that. They come out likea compromise whereas in astudio they can put work</p><p>in on it until you get it how youwant it.Paul: Last year you were tellingme: you can do anything youwant, Paul; anything you desireyou can do.George: But you have to desireto do it.Paul: But these days you aresaying we're not going to be ableto do it, you know, we're going tocome out a compromise. Now Idon't think that, I really don't. Ithink we've got it. I really think we're very good. And we can get ittogether if we think that we wantto do these songs, great, we canjust do it great, you know. But Ithink thinking it's not going tocome out great, well, that's likemeditation where you just get intoa . . . and you come out of it, youdon't go through it. So you're sickof playing the drums; we've all gotto say it. It's all the same and we've got to go through it.Lindsay-Hogg: Well I think one ofthose things that's wrong aboutdoing the show here is that it's tooeasy. Like when we are in the carlooking for locations and glorifiedboutiques, I think that's wrong.But just doing it in the backyard. Imean it's literal. It's almost yourbackyard, Twickenham. There'sno balls to the show at all. I meanthere's no balls in any of us, I'mincluded, and that's why I think weare being soft about it. You arethe Beatles; you aren't four jerks.You know what I mean.Paul: The only thing about that isthat we don't want to go away.</p></li><li><p>Lindsay-Hogg: I know, I know, Iknow. I know if I say it again I'mgoing to get a big left hander,b u t . . .George: You know its going tobe the same thing there ashereit's going to be a bitnicer place to be in, but it'sgoing to be even morecomplicated trying to plug in onall the mikes and tapes and allthat crap.Lindsay-Hogg: First of allvisually the thing that interestsme . . . naturally . . . Think of thehelicopter shot over theamphitheatre with the water withthe lights and the water, torchlit,2,000 Arabs. You know what Imean. Visually it's fantastic.Paul: But if it was a fan clubshow. You remember theWembley, or the Wimbledonone where we were in a cage,and like people were filingpast; it was just a different kindof thing from what we everdid. It was terrible. That's not it.But that kind of thing made thatshow different because it was likeplaying to a t...</p></li></ul>