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THE BEATLES GET BACK The lyrics, or extracts therefrom, of Designed by John Kosh the undermentioned compositions Produced by Neil Aspinall are produced by permission Additional material of Harrisongs Limited supplied by Mal Evans Published Copyright for the World © 1969 by Apple, London Printed in Harrisongs Limited England by Garrod and For you Blue/1969 Lofthouse International Limited All things pass/1969 Copyright © 1969 for the world by Apple Publishing The lyrics, or extracts therefrom, of the undermentioned compositions are produced by permission of Startling Music Limited Copyright for the World © Startling Music Limited Photographs by Ethan A Russell Octopuss Garden/ 1969 The lyrics, or extracts therefrom, of the undermentioned compositions are produced by permission of Northern Songs Limited Copyright for the World © Northern Songs Limited Youve Got to Hide Your Love Away/ 1965 1m Only Sleeping/1966 Magical Mystery Tour/1967 Hey Jude/1968 Back in the U.S.S.R./1968 Blackbird/1968 Maxwells Silver Hammer/1969 Get Back/ 1969 Carry that Weight/ 1969 Dont let me Down/ 1969 Dig a Pony/1969 Two of Us on our way home/1969 I got a feeling/1969 One after 909/1969 Copyright 1967 by Dwarf Music, Inc. New York U.S.A. Reproduced by permission of B. Feldman and Co. Ltd. I shall Be released Bob Dylan Text by Jonathan Cott and David Dalton Things as they are there. You can glide down from Ringo: Around the Beatles. Paul: As a dream the roof on a one shot on to . just sit back in a wide shot, As they are as a dream Ringos face, float around, being then go to someone, like a news careful not to miss anything. Its event. Paul: I think were getting the like Warhols things; he goes to Ringo: Id like it like a Country wrong idea about the film. Its the other extreme, but he reckons programme where you have one like in the Stones Circus. theres a pace in Empire. Even a camera, just step in and do your I couldnt really get into that. It Tunisian amphitheatre can be bit, like on the Grand Ol Opery, was an event and that kind of boring. I dont dig Flatt and Scruggs; theyd all thing is all over. I say, just stick underestimating whats here. If it move in when their solo came on it and leave it. Just leave the s going to be scenery, we should around and take the centre so shot and the whole bit and not go the whole way and get they acted out the shots. just this excellent little galloping horses. You should get Paul: It bugs me when they zoom movement. Like on really close up, like right into one Ringo. He does this and he in and out. Id like it to be like an of Johns eyes. Can you do that? old movie. If you want to say does that and its all great, and That direction, rather than John that to music. anything, you walk up to the and the moon. Linda: The world camera. The only thing that Linda: Like a study. is dying to see them. Ive never doesnt need to move is the Paul: A study, yeah, like seen a study of them. You want camera. Its like oriental medicine Picasso paints. You just saw the to be there. Lindsay-Hogg: I just and western medicine. We whole thing right there. These thought of going to Africa prescribe for the symptoms; they songs are our paintings. Get very because we colonised it. are into preventing it. Its like a bright lights so you see Paul: But we could have like a switch—get us to do the everything, instead of moody game of musical chairs, a movement. lighting, that kind of thing. With computer set up with chairs. You Ringo: They asked some people everything here, it hardly needs ve got the scenery here. Its like to stand by a wall, just stand scenery. Really, it all should be The Potters Wheel; theyd make there, not do anything, but they about him and his drum kit. Look a pot before your eyes. The couldnt do it. They all had to do at his drum kit, it really looks camel wont be doing anything their bit, all the old jokes we used great live; youll be lucky if you catch to do and that .. Kids always win beautiful sitting there. Then John him crapping on camera. on those. Paul: Dreaming in and his guitar and his amp, sitting Linda: Its like being a great public is the thing. You know there, actually showing it at that photographer. Like there are those dreams where you go down minute. The scenery would just be only certain men Im a Helter Skelter? And the scene the other things around, like the interested in photographing. I changes? But doing that awake. scaffolding, the other cameras. Its cant photograph women at all; The latest thing from Apple! like in a news event. The man it doesnt involve me .. Well, shooting is maybe like Greta Garbo. Paul: news, not the man on the ground If you go away, youre going to afterwards. Id really like to look at be hamstrung by the scenery. If Pete Townshends face; he you could shoot the steadiness, fascinates me . like on Jude like youre flying over... the little screams were more Lindsay-Hogg: What was your interesting than the postman. If favourite of the TV shows? you can think slow, not bang! bang! bang! Instead of getting all the pacing, a chair lift, the flow, the pace is already Paul: Hi Ringo. Hi lads. always think that sounds Paul: Can you play that back Ringo: Hi. Happy New funny, like having trumpeters. now, Glyn? New Year. singing) Glyn: Coming up. Paul: Its the happiest belated Dont let me down .. Paul: The thing I dont want hogmany for marmalade. f you could have Dont let is a TV show. They always seem John: Its a feeling . its me down, say, twice at the to have that farty little sound on enough to make a haggis grow beginning. It sounds like a TV. legs; but tonight well celebrate middle 8 all the time. I wouldn't ; Glyn: Dont forget youre on Irish Whiskey said Gene crap that; use it somewhere near hearing it on a TV speaker, which is a grotty speaker, but Pitney, the only Sassenach in the end. you can get a good sound. the group. John: Well do it a couple of more times right through. Paul: But even so, whenever Paul: I tried to call you this George: Do you want us to you used to get Cool for Cats, morning. sing in unison or harmony? when they played the record or John: I know, I complained to Paul: Harmony. anything, youd hear the the operator about it. George: Well need three mikes old mine shelves, in the old days. Paul: I get the horrors every then. Dont let me down morning about 9:00 when I get Paul: Something like (singing): Dont let me down .. my toast and tea .. Love for the first time JUMBLE OF VOICES So dont you let it get away (Tuning up, drums, cymbals tintinabulating, a riff gets It lasts forever and a day moving. John, Paul, and George Start off with a corny one. singing I Shall Be Released) John: I think the words should They say everything can be replaced be corny cos theres no clever They say every distance is not near words in it. Yet I remember every face Paul: Just repeat what you were Of every man who put me here. doing, but not as high as we were George: Its echoing; we have doing it. (singing) a bit of echo. We could get a Im in love for the first time in PA like in the Top Ten in my life Hamburg. Dont you know its going to last. John: (singing) Dont bring George: The corny bits I me down .. thought were the notes, how Paul: Its the first time I thought we were doing it, not the words. it was this high; I thought it was Paul: Lets try it again and see if low before. John: I think its its all right. when youre trying to sing over . Dont let me down . You see Ive no order for it at Dont let me down all—for all the bits. Im just going George: That bit is even cornier; to see which should come where . Dont bring me . Paul: The the harmony—its too pretty. point is, are we going to do it, Paul: We can make it better as can we do it? John: Weve been we go along. Do it once more. I, trying. Paul: I think we should 2, 3, 4, learn it then, see whats needed. Im in love for the first time The idea of a piano does limit it. George: That one was great. Try this, its these three, 1st 2nd 3rd fret, an open bottom E .. Dont let me down In a Play Anyway Date: little group of chairs that floats 2nd January 1969 like Hucks raft on the blue- black ektachrome floor. The Location: Twickenham director, Michael Lindsay-Hogg, Film Studios in a brown pin-striped suit, Cast: smoking an early Hollywood John Lennon cigar, wears his 30s. Yokos Paul McCartney in black, visible, invisible, silently George Harrison present. Her hair, Noh curtains. Ringo Starr Drinking tea from a styrofoam cup, Director: picking nervously at her hands, a Michael Lindsay-Hogg, Bird of Paradise Yoko Ono perching for a moment on an electric wire.

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