McCartney’s music hall serial killer anthem gets a knockabout rendition with whistles aplenty and personal assistant Mal Evans on hammer and anvil. ‘When I’m Sixty-Four’ (1967)įor a few seconds, McCartney turns his rinky-dink slice of pensioner pop into a grandiose spoken-word showstopper. ‘She Came In Through The Bathroom Window’ (1969)įirst sung by Paul as he’s imagining the band doing the final gig while being carted out of the Houses Of Parliament by the police, this key moment from the Abbey Road medley goes through the obligatory funny-voice version at Twickenham before coming together (sorry) properly during the Apple HQ sessions. Early in its life the track almost turns into an easy-to-misread satire of Enoch Powell’s anti-immigration nationalism and briefly, part-way through episode two, is retitled ‘Shit’. ‘Get Back’ (1969)Īrguably the most magical moment of the series, Paul writes ‘Get Back’ in a couple of minutes on camera in front of a clapping Ringo and yawning George, thumping chords and mumbling lyrics until it comes together like a magic eye picture. ‘My Imagination’ (1969)įurther improvisation delivered this bout of McCartney primal scream therapy, psych-rock style.
‘You Wear Your Women Out’ (1969)Īn improvised blues jam – a few seconds are featured in Get Back.
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Paul has a crack at Lennon’s narcoleptic ‘White Album’ track, reflecting the fatigue already setting in.
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George riffs on the 1964 track from ‘Beatles For Sale’ as an example of an “oldie but goldie” they could play at the start of the TV special rather than give the audience nothing but new songs. “There’s no solo or anything complicated,” says George, proffering his own shoulda-been-a-Beatles classic, ultimately destined for his solo debut of the same name despite The Beatles’ version being a thing of no little beauty. ‘Gimme Some Truth’ (1971)Ī moment when the viewer really starts to wonder how great ‘Let It Be’ could have been, Lennon offers one of his greatest solo numbers to the band, previously rehearsed with McCartney and largely mumbled besides a few lines, including “money for rope” and “freaked out, yellow-bellied son of Gary Cooper”. Lennon leads the band through the spy noir theme instrumental, at the end of which George gets an electric shock from his microphone. ‘The Harry Lime Theme From The Third Man’ (1949) Showtune turned into a doo-wop hit for Emile Ford And The Checkmates in 1959 and Shakin’ Stevens in 1987, delivered in drunk crooner style by the Fabs.
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‘What Do You Want To Make Those Eyes At Me For?’ (1916) Beatles kinda killing time at this point. ‘Midnight Special’ (1923)Ĭountry blues jailhouse rocker first officially recorded by Dave ‘Pistol Pete’ Cutrell. ‘Ob-La-Di, Ob-La-Da’ (1968)īlowing off steam, the band run through a comedy take of Paul’s reggae conga, with John singing the chorus as “ Oh by gum”. The one track from John and Paul’s skiffle rock past which sparks some interest – “I wrote that when I was about 15,” says John, and it finally gets its day in the sun on ‘Let It Be’. ‘Won’t You Please Say Goodbye’ (1950s)Īnother rhythm and blues slow-burner from the archives, resembling an early run at ‘Baby’s In Black’.
We get barely a snippet of this early McCartney tune, but it sounds as if it might have been a southern blues homage. “I don’t think that ever got there, did it?” Paul chuckles. ‘Because I Know You Love Me So’ (1950s)Ī country and western number from the same bag of discarded ‘50s pre-Beatles compositions. Lacking new songs, a number of tunes from John and Paul’s teenage writing sessions were revisited briefly for possible inclusion, including this skiffle throwaway. ‘Taking A Trip To Carolina’ (1969)Ī steamboat piano ditty Ringo had been working on at home, given a cheery 20-second preview for Paul and George’s amusement. ‘Tea For Two’ (1924)Ī Broadway hit of the ‘20s, given some swing by Paul at the piano as he and a tap-dancing Ringo wait for the others to show up on day two. The lyric sheet reads “A Quarrymen original”. The intimate folk opener of ‘Let It Be’, something of an Everly Brothers tribute, begins life as a Wings-friendly groove rocker with a chorus of “ you and me, Henry Cooper” in the film before evolving – via versions in Dylan, Jamaican, upper class, Scottish, comedy Elvis and ventriloquist accents – into its far more subtle acoustic form. Warming to the Dylan theme, The Beatles would have heard Bob’s prison lament on The Band’s 1968 album ‘Music From Big Pink’. McCartney gives Manfred Mann’s Dylan-penned 1968 hit a brief high-pitched rendering. ‘Quinn The Eskimo (The Mighty Quinn)’ (1968) Chuck Berry’s legendary roadhouse rocker and a Hamburg favourite, given a cursory twangle at Twickenham.
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