> The Rolling Beatles, could it happen? <

No - because Paul McCartney doesn't play in a Blues-Cover-Band ....

Get Back by Paul McCartney & Ringo Starr & Ronnie Wood - Live at O2 Arena (London), 16-Dec-2018 :



[www.YouTube.com] - [www.RollingStone.com]

Quote
NilsHolgersson

The Rolling Stones have a drummer and a bass player.

I’m sorry Bill left. I’m deeply, DEEPLY saddened by Charlie’s passing.

But Darryl and Steve are GREAT players in their own right. Why people diss them is beyond me.

Makes me wonder about The Stones expertise. I wonder why Mick and Keith can’t see how bad Darryl and Steve are. They apparently are musically deaf. They should listen to the fans here. Many (most?) of us apparently know better, and that Darryl and Steve are duds.

Rod



Edited 1 time(s). Last edit at 2022-07-12 17:19 by bitusa2012.

Quote
bitusa2012

The Rolling Stones have a drummer and a bass player. I’m sorry Bill left. I’m deeply, DEEPLY saddened by Charlie’s passing.

The Beatles had a frontman and guitarist. I’m sorry the Beatles left off in 1970. I’m deeply, DEEPLY saddened by the murder of John Lennon and George Harrison’s early passing.

Here you go :

[youtu.be]

maybe if the stones and paul and ringo are in the same town for shows they could arrange something for a couple songs

i wanna be your man?

sweet little sixteen?

come on?


or alternatively

mick, keith and ronnie could guest with paul and ringo at one of paul's shows

but what songs would they fit best on?



Edited 1 time(s). Last edit at 2022-07-12 20:03 by ProfessorWolf.

yeah who needs crappy guest stars breathing away precious stage air when you could have the Rolling Bottles

Don't dismiss this out of hand. Think about it. What's left of the Beatles and Stones are rapidly aging. (Aren't we all). They're one tour away from sitting on stools and doing medleys. (As the great blues artists like Muddy Waters and John Lee Hooker did). That combination has enough great songs between to do short sets with individuals, and maybe combine at the end. That way you take pressure off them to perform so many songs when they really don't have the energy any longer.

Paul also plays guitar, so he would be a welcome addition to cover for Keith and/or Ronnie when they're having off nights.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

This came up a few years ago by a quack named something like JumpingJack50 or some ridiculous name, Jackolantern.

You wanna be another quack?

Quote
GasLightStreet
This came up a few years ago by a quack named something like JumpingJack50 or some ridiculous name, Jackolantern.

You wanna be another quack?

Some say I'm already quacked.

This idiotic idea shows a complete lack of understanding of each band.
The Beatles were a pop group that played some rock music, they have a certain goofy factor about them.
They lack an attitude that great rock and roll bands possess.
Beatles fans don’t see this because most of them are a bit goofy themselves, hence they actually think their lame rhythm section could be in The Rolling Stones.

Watts/Wyman, Entwistle/Moon, Bruce/Baker,Bonham/Jones.
Cream puff Paul and dopey Ringo don’t make this list.
If you actually think those two geriatric pop tarts could do better than Daryl Jones and Steve Jordan you are suffering from brain damage.

LR: what did you think of the Beatles?
Ian Stewart-“I thought they were horribly overrated, they could sing but they couldn’t play their instruments. None of those Liverpool bands could”

Quote
GasLightStreet
This came up a few years ago by a quack named something like JumpingJack50 or some ridiculous name, Jackolantern.

You wanna be another quack?

Perhaps we could appeal for greater sanity? Clearly the answer lies not in this generation, but the next.

Therefore, let's look to the sons of "The Rolling Beatles" as the only plausible option.

Quote
lem motlow
This idiotic idea shows a complete lack of understanding of each band.


Watts/Wyman, Entwistle/Moon, Bruce/Baker,Bonham/Jones.
Cream puff Paul and dopey Ringo don’t make this list.
If you actually think those two geriatric pop tarts could do better than Daryl Jones and Steve Jordan you are suffering from brain damage.

I've always thought Paul was an excellent bass player

Quote
lem motlow
This idiotic idea shows a complete lack of understanding of each band.

Relax, I'm pretty sure the meme was made as a joke.

Quote
lem motlow
The Beatles were a pop group that played some rock music, they have a certain goofy factor about them.
They lack an attitude that great rock and roll bands possess.

“I think that Andrew very much liked to contrive the danger because he saw that, very cleverly, as a foil for The Beatles...Brian Epstein had sold them as these lovable scamps […] so Andrew wanted us to be more nasty and more dirty and [with] more of an edge.” - Mick Jagger
“They got cleaned up by their manager to make them more palatable to the public,” he explains. “Otherwise, they were exactly the same as we were… Filthy swine [laughs]”. - Keith Richards
source: [guitar.com]

Quote
lem motlow
Beatles fans don’t see this because most of them are a bit goofy themselves, hence they actually think their lame rhythm section could be in The Rolling Stones.

Again, the meme was most likely a joke and not a serious suggestion.

Quote
lem motlow
Watts/Wyman, Entwistle/Moon, Bruce/Baker,Bonham/Jones.
Cream puff Paul and dopey Ringo don’t make this list.
If you actually think those two geriatric pop tarts could do better than Daryl Jones and Steve Jordan you are suffering from brain damage.

Cream puff? Pop tarts? Why so much hatred for a band? It's just music. And yes, Ringo and Paul can rock the f*cking house when they wanted to. In fact, Ringo was a much heavier drummer than Charlie ever was.

In case readers have missed it.... The BluRay version of "Get Back" has finally been released.

Support your local shops and buy a copy.

Captain Corella

I know I am a tad bit late to the party , but I have just begun watching the first part of Get Back and am impressed by the camaraderie of the 4 Beatles . Very interesting watching how they go about there work in the studio . I have read so much stuff over the years of how they supposedly hated each other by this time and I did not see that so far in my viewing . I did see the tension between Paul and George as Paul is directing his bandmates and that is interesting to see Paul doing so (also pretty mind blowing for me in seeing the direction that Paul is giving Ringo for the drums , I mean is Paul's musical I.Q off the charts or what ? ) . I did see the humor shared by the Fab 4 just like mischievous teenagers with wicked senses of humor . Yoko Ono sitting in between the Beatles like a guard tower . Very bold to be seated like this , but hey what do I know ? I very much want to skip right over to the end to watch the rooftop show in it's entirety for the first time ,but I should probably watch it in the order that the director intended . I will post back more of my impressions .

Quote
TheGreek
I know I am a tad bit late to the party , but I have just begun watching the first part of Get Back and am impressed by the camaraderie of the 4 Beatles . Very interesting watching how they go about there work in the studio . I have read so much stuff over the years of how they supposedly hated each other by this time and I did not see that so far in my viewing . I did see the tension between Paul and George as Paul is directing his bandmates and that is interesting to see Paul doing so (also pretty mind blowing for me in seeing the direction that Paul is giving Ringo for the drums , I mean is Paul's musical I.Q off the charts or what ? ) . I did see the humor shared by the Fab 4 just like mischievous teenagers with wicked senses of humor . Yoko Ono sitting in between the Beatles like a guard tower . Very bold to be seated like this , but hey what do I know ? I very much want to skip right over to the end to watch the rooftop show in it's entirety for the first time ,but I should probably watch it in the order that the director intended . I will post back more of my impressions .

Enjoy it, for it is very enjoyable and very well put together.

Quote
Boognish

Quote
lem motlow
This idiotic idea shows a complete lack of understanding of each band.

Relax, I'm pretty sure the meme was made as a joke.

Quote
lem motlow
The Beatles were a pop group that played some rock music, they have a certain goofy factor about them.
They lack an attitude that great rock and roll bands possess.

“I think that Andrew very much liked to contrive the danger because he saw that, very cleverly, as a foil for The Beatles...Brian Epstein had sold them as these lovable scamps […] so Andrew wanted us to be more nasty and more dirty and [with] more of an edge.” - Mick Jagger
“They got cleaned up by their manager to make them more palatable to the public,” he explains. “Otherwise, they were exactly the same as we were… Filthy swine [laughs]”. - Keith Richards
source: [guitar.com]

Quote
lem motlow
Beatles fans don’t see this because most of them are a bit goofy themselves, hence they actually think their lame rhythm section could be in The Rolling Stones.

Again, the meme was most likely a joke and not a serious suggestion.

Quote
lem motlow
Watts/Wyman, Entwistle/Moon, Bruce/Baker,Bonham/Jones.
Cream puff Paul and dopey Ringo don’t make this list.
If you actually think those two geriatric pop tarts could do better than Daryl Jones and Steve Jordan you are suffering from brain damage.

Cream puff? Pop tarts? Why so much hatred for a band? It's just music. And yes, Ringo and Paul can rock the f*cking house when they wanted to. In fact, Ringo was a much heavier drummer than Charlie ever was.

Yes, it's amazing how people on this board don't understand or comprehend what a meme is- a humourous image, video, piece of text, etc., that is copied and spread rapidly by internet users.

Quote
DGA35

Quote
Boognish

Quote
lem motlow
This idiotic idea shows a complete lack of understanding of each band.

Relax, I'm pretty sure the meme was made as a joke.

Quote
lem motlow
The Beatles were a pop group that played some rock music, they have a certain goofy factor about them.
They lack an attitude that great rock and roll bands possess.

“I think that Andrew very much liked to contrive the danger because he saw that, very cleverly, as a foil for The Beatles...Brian Epstein had sold them as these lovable scamps […] so Andrew wanted us to be more nasty and more dirty and [with] more of an edge.” - Mick Jagger
“They got cleaned up by their manager to make them more palatable to the public,” he explains. “Otherwise, they were exactly the same as we were… Filthy swine [laughs]”. - Keith Richards
source: [guitar.com]

Quote
lem motlow
Beatles fans don’t see this because most of them are a bit goofy themselves, hence they actually think their lame rhythm section could be in The Rolling Stones.

Again, the meme was most likely a joke and not a serious suggestion.

Quote
lem motlow
Watts/Wyman, Entwistle/Moon, Bruce/Baker,Bonham/Jones.
Cream puff Paul and dopey Ringo don’t make this list.
If you actually think those two geriatric pop tarts could do better than Daryl Jones and Steve Jordan you are suffering from brain damage.

Cream puff? Pop tarts? Why so much hatred for a band? It's just music. And yes, Ringo and Paul can rock the f*cking house when they wanted to. In fact, Ringo was a much heavier drummer than Charlie ever was.

Yes, it's amazing how people on this board don't understand or comprehend what a meme is- a humourous image, video, piece of text, etc., that is copied and spread rapidly by internet users.

I think some people just get grumpy as they get older and don't seem to 'get' jokes. Dunno why.

While I understand the appearance of grumpiness I don’t believe these comments were meant to be funny. However they are entertaining. My two cents.

Quote
treaclefingers

Quote
TheGreek
I know I am a tad bit late to the party , but I have just begun watching the first part of Get Back and am impressed by the camaraderie of the 4 Beatles . Very interesting watching how they go about there work in the studio . I have read so much stuff over the years of how they supposedly hated each other by this time and I did not see that so far in my viewing . I did see the tension between Paul and George as Paul is directing his bandmates and that is interesting to see Paul doing so (also pretty mind blowing for me in seeing the direction that Paul is giving Ringo for the drums , I mean is Paul's musical I.Q off the charts or what ? ) . I did see the humor shared by the Fab 4 just like mischievous teenagers with wicked senses of humor . Yoko Ono sitting in between the Beatles like a guard tower . Very bold to be seated like this , but hey what do I know ? I very much want to skip right over to the end to watch the rooftop show in it's entirety for the first time ,but I should probably watch it in the order that the director intended . I will post back more of my impressions .

Enjoy it, for it is very enjoyable and very well put together.

100% agree.

The original version of the movie (Let It Be) was definitely not the arguing gloom and doom that legend portrayed it to be. (Indeed that was what I thought until I got a very good copy of it in about 2006 and watched it again).

However, the original was definitely not the uplifting film about enduring friendship, mutual respect, and love that the new version has turned out to be.

Peter Jackson's version a celebration.

We should all be grateful that they gave the task to Peter Jackson. He's not know for turning out films shorter than they need to be, and even so this one is not quite long enough. :-)

(I was lucky enough to watch the limited IMAX release of the rooftop concert segment (plus a tiny bit more), and that's simply mind blowing on the biggest IMAX screen in the world!).

Captain Corella

From Best Classic Bands:

The Beatles’ ‘Get Back’ Arrives on Blu-ray: Lots of Music, Even More Surprises
by Jeff Burger

GET BACK

Even if you’re a rabid Beatles fan (and who isn’t?), you may think you’ve seen enough movies related to the group to last a lifetime. Over the past half-century or so, the Fab Four have figured in everything from musical comedies like A Hard Day’s Night and Help! to the animated Yellow Submarine to documentaries such as The Compleat Beatles, the five-DVD Anthology and Ron Howard’s Eight Days a Week. Even if you’ve seen all these films, though, you’ve never experienced anything like Get Back, the 2021 Disney documentary that was finally released (after multiple production delays) as a three-disc Blu-ray set with Dolby Atmos audio, and on DVD.

[On the title’s July 12, 2022, street date, the documentary received five Emmy nominations: Outstanding Documentary Or Nonfiction Series, Outstanding Directing For A Documentary/Nonfiction Program, Outstanding Picture Editing For A Nonfiction Program, Outstanding Sound Editing For A Nonfiction Or Reality Program (Single Or Multi-Camera), and Outstanding Sound Mixing For A Nonfiction Or Reality Program (Single or Multi-Camera).]

Directed and produced by filmmaker Peter Jackson (best known for the Lord of the Rings and Hobbit movies), this nearly eight-hour gem comes more than five decades after the 1970 documentary about the making of the album Let It Be but tells a much more nuanced and in-depth story. It does so via material culled from about 60 hours of unseen video and 150 hours of unheard audio captured for the earlier movie by Michael Lindsay-Hogg. The new film takes us inside the Beatles’ creative process as they concoct an LP from scratch while also preparing for their first live performance in nearly two-and-a-half years. Disc one opens with a scene-setting crash course in Fab Four history. In approximately 10 minutes, we get flashes of the Quarrymen; the pre-fame Hamburg, Germany, shows; the hookup with Brian Epstein; the historic Ed Sullivan Show appearances; the Beatle movies; the Shea Stadium concert; the bigger-than-Jesus controversy; Epstein’s death; the sojourn to India to see the Maharishi; the launch of Apple Corps; and more…all leading up to the decision to write and rehearse new songs for a TV special and album in January 1969. The rest of the first disc, all of the second, and the beginning of the third let you be a fly on the wall—first at Twickenham Film Studios and then at Apple’s own facilities—as the Beatles work through their issues, play with ideas, and develop material for Let It Be, their last album (though the sessions mostly predated those for Abbey Road, which was issued earlier). Director Jackson wisely eschews any attempt at narration. Instead, words on the screen unobtrusively identify songs and their composers and spell out dialogue that might be hard to decipher. Also identified by captions are the many Beatles-associated people who come in and out, including Yoko Ono, who spends a lot of time knitting; Linda Eastman, who snaps photos of the boys; Linda’s six-year-old daughter, Heather, who dances around and seems to charm everyone; producer George Martin; George Harrison’s wife, Pattie Boyd and a Hare Krishna friend of his; actor Peter Sellers; recording engineer Glyn Johns; Apple press officer Derek Taylor; and Beatles film producer Dennis O’Dell.

Dozens and Dozens of Songs

Throughout these sessions, the Fab Four deliver snippets from dozens upon dozens of songs. There are, of course, early versions of the numbers that wound up on the Let It Be album, including “For You Blue,” “I Dig a Pony,” “Maggie Mae,” “Don’t Let Me Down” and “The Long and Winding Road.” Also: “One After 909,” which John Lennon says he wrote when he was about 15; Harrison’s “I Me Mine,” which he sings while Lennon and Ono dance; and multiple versions of “Get Back,” among them one with lyrics that condemn white nationalism and another that incorporates lines from the Four Tops’ “Reach Out (I’ll Be There).” But these Let It Be warmups are just for starters. Also here are portions of many songs from the Beatles’ catalog, including camped-up versions of “Help!” and “Please Please Me”; a countrified “Love Me Do”; Harrison’s “Old Brown Shoe,” with him on piano; and numbers from the forthcoming Abbey Road, among them Ringo’s “Octopus’s Garden” with him on piano and George on guitar; and an embryonic “Something.” The sessions additionally incorporate material that would show up on 1970s solo albums, such as Harrison’s “All Things Must Pass,” Lennon’s now-more-relevant-than-ever “Gimme Some Truth” and Paul McCartney’s “Just Another Day.” On top of all that, there are more than enough covers of early rock, country and R&B songs to remind you just how acquainted with and indebted to this music the Beatles were. They offer bits of Chuck Berry’s “Johnny B. Goode,” “Forty Days,” “School Days” and “Rock and Roll Music” (the latter intercut here with a film clip of the Beatles performing the song in concert in the mid-’60s); Big Joe Turner’s “Honey Hush” and “Shake, Rattle, and Roll”; Roy Brown’s “Good Rockin’ Tonight”; Carl Perkins’ “Blue Suede Shoes”; Bobby Darin’s “Queen of the Hop”; Gary U.S. Bonds’ “New Orleans”; Wilbert Harrison’s “Kansas City”; Arthur Crudup’s “My Baby Left Me”; the Isley Brothers’ “Shout”; Ben E. King’s “Stand by Me,” which Lennon would later record for Rock ’n’ Roll, his covers LP; ” Little Richard’s “Miss Ann”; the Drifters’ “Save the Last Dance for Me”; Tommy Tucker’s “Hi-Heel Sneakers,” Eddie Cochran’s “Twenty-Flight Rock”; and the Everly Brothers’ “Bye Bye Love.” Here, too, are bits of Bob Dylan’s “Mama, You Been on My Mind” and “I Shall Be Released”; Hank Williams’ “Take These Chains from My Heart” and “You Win Again,” the latter in a tongue-in-cheek version sung by Lennon; Emile Ford’s “Why Do You Want to Make Those Eyes at Me For”; Ray Charles’ “Hallelujah I Love Her So”; Canned Heat’s “Going Up the Country”; “Woman,” the McCartney-penned Peter and Gordon hit; and the traditional “House of the Rising Sun” and “Midnight Special.”

Fascinating Conversation

Watching and hearing the Beatles run through all this material is a fascinating experience but their conversations are no less interesting than the music. Under pressure to come up with new material, they note nervously at one point that while only 12 days remain until their planned live show, they have just a few songs ready. They talk about perhaps canceling the performance and of doing it with or without an audience. They also discuss a wide range of possible venues, including a farm, a boat, a hospital, an orphanage, a ballroom, the House of Parliament and even an open-air stadium in the ancient Libyan city of Sabratha. After keyboardist Billy Preston arrives to say hello and winds up adding keyboards on seven of Let It Be’s 12 tracks, the group talks about making him the fifth Beatle. Harrison comments that he previously asked Bob Dylan to join the group and McCartney quips that, “It’s bad enough with four.” Elsewhere, they reminisce about their trip to see the Maharishi in India and talk about how their feuds will be viewed in 50 years. At one point, John gleefully announces that Yoko’s divorce just went through. He also raves about manager Allen Klein (“an incredible guy”), but engineer Glyn Johns seems skeptical of him. Paul, meanwhile, talks about getting over “the nervousness of playing to an audience.” The story for decades has been that these are the sessions when the Beatles fell apart, and there’s certainly plenty of evidence here to back that up. They talk of a possible “divorce” and lament the death of Epstein, who they agree gave them a sense of discipline that is now lacking. Harrison says, “The Beatles have been in doldrums for at least a year,” and tension is particularly high between him and Paul. At one point, Harrison comments offhandedly that it’d be nice to do an album on his own; at another, he responds to an instruction from McCartney with, “Whatever it is that will please you, I’ll do it.” Finally, near the end of part one of the film, an exasperated Harrison abruptly announces, “I’m leaving the band now,” adding “Get a replacement” and “See you ’round the clubs.” Says Lennon nonchalantly, “If he doesn’t come back by Tuesday, we get [Eric] Clapton.” Later, though, he and McCartney sound more concerned as they discuss what to do about Harrison’s departure in a conversation captured by a hidden microphone.

Moments of Joy

The situation turns out to be more complicated than scenes like this make it seem, however, because the signs of discord are interspersed with many moments of pure joy as all four members of the group rediscover the pleasure of one another’s company and the thrill of making music together. Lennon and McCartney affectionately revisit obscure and frequently charming songs they wrote when they were starting out, such as “Just Fun,” “Because I Know You Love Me So,” “Fancy My Chances with You” and “Too Bad About Sorrow.” Also: McCartney’s “I Lost My Little Girl,” which was the first song he ever wrote (he was 14); and Lennon’s “On the Road to Marrakesh,” which sounds like an early version of Imagine’s “Jealous Guy.” The four clown around, play one another’s instruments, and read news articles about the Beatles out loud and laugh. There are many times when John and Paul in particular share smiles and jokes, affect accents, sing “Two of Us” through gritted teeth for laughs, and seem entirely in sync musically. At one point, McCartney plays piano as Ringo tap dances, and George and Paul both play drums at various times. For one song, Yoko puts down her knitting and sings lead. John dances with her at several points; he also dances with Paul. Say Ringo, “Don’t assume it’s our last TV show just because we’ve got a bit grumpy.” Indeed, all is not lost, at least not yet: after John, Paul and Ringo meet twice with George, he returns to the group near the beginning of part two of this series, and they start recording in a basement studio in Apple. As part three begins, only three days remain until the scheduled (but unannounced) Jan. 30, 1969, rooftop concert above Apple’s offices on London’s Savile Row. Even in the hours before it, the four are still discussing whether to do it. But they do, and with gusto, and the entire performance appears here for the first time in its entirety.

Mixed Reactions on the Streets

Down on the streets, where cameras have been placed, the public seems divided. An interviewer talks to pedestrians, many of whom seem delighted by the surprise concert and say things like, “I’m all in favor of it!” But one man says it “absolutely disrupts all the business in this area” while a woman gripes that “it woke me up from my sleep and I don’t like it!” Then the police show up, say that “we’ve had 30 complaints of noise within minutes,” and demand that the performance end or they’ll start arresting people for disturbing the peace. The Beatles—whose associates do their best to stall the authorities—manage to get through five songs (some more than once) before the cops work their way up to the roof. When the bobbies finally arrive there, the Beatles wrap up a take of “Get Back” with McCartney ad-libbing about how playing on a roof will get you arrested. Then they head downstairs to listen to a playback of the tape. Before they do, Lennon famously calls out, “I would like to say thank you on behalf of the group and ourselves and I hope we’ve passed the audition.” Yes, you have, John. As for the cops who tried to shut down the first Beatles concert in years—which also turned out to be the last gig ever by this legendary group—well, as far as yours truly is concerned, they flunked their audition.

-----------------------------------------------------
*Several video clips and links to related articles here: BEST CLASSIC BANDS

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Quote
Hairball
From Best Classic Bands:

The Beatles’ ‘Get Back’ Arrives on Blu-ray: Lots of Music, Even More Surprises
by Jeff Burger

GET BACK

Lennon famously calls out, “I would like to say thank you on behalf of the group and ourselves and I hope we’ve passed the audition.” Yes, you have, John. As for the cops who tried to shut down the first Beatles concert in years—which also turned out to be the last gig ever by this legendary group—well, as far as yours truly is concerned, they flunked their audition.

I'd cut these cops a little slack. Young guys with a job to do. Had to be super intimidating.

I think the whole situation worked as a 'foil' for the show...will they or won't they pull the plug?

You couldn't have planned it better.

Quote
Hairball
From Best Classic Bands:

The Beatles’ ‘Get Back’ Arrives on Blu-ray: Lots of Music, Even More Surprises
by Jeff Burger

GET BACK

Even if you’re a rabid Beatles fan (and who isn’t?), you may think you’ve seen enough movies related to the group to last a lifetime. Over the past half-century or so, the Fab Four have figured in everything from musical comedies like A Hard Day’s Night and Help! to the animated Yellow Submarine to documentaries such as The Compleat Beatles, the five-DVD Anthology and Ron Howard’s Eight Days a Week. Even if you’ve seen all these films, though, you’ve never experienced anything like Get Back, the 2021 Disney documentary that was finally released (after multiple production delays) as a three-disc Blu-ray set with Dolby Atmos audio, and on DVD.

[On the title’s July 12, 2022, street date, the documentary received five Emmy nominations: Outstanding Documentary Or Nonfiction Series, Outstanding Directing For A Documentary/Nonfiction Program, Outstanding Picture Editing For A Nonfiction Program, Outstanding Sound Editing For A Nonfiction Or Reality Program (Single Or Multi-Camera), and Outstanding Sound Mixing For A Nonfiction Or Reality Program (Single or Multi-Camera).]

Directed and produced by filmmaker Peter Jackson (best known for the Lord of the Rings and Hobbit movies), this nearly eight-hour gem comes more than five decades after the 1970 documentary about the making of the album Let It Be but tells a much more nuanced and in-depth story. It does so via material culled from about 60 hours of unseen video and 150 hours of unheard audio captured for the earlier movie by Michael Lindsay-Hogg. The new film takes us inside the Beatles’ creative process as they concoct an LP from scratch while also preparing for their first live performance in nearly two-and-a-half years. Disc one opens with a scene-setting crash course in Fab Four history. In approximately 10 minutes, we get flashes of the Quarrymen; the pre-fame Hamburg, Germany, shows; the hookup with Brian Epstein; the historic Ed Sullivan Show appearances; the Beatle movies; the Shea Stadium concert; the bigger-than-Jesus controversy; Epstein’s death; the sojourn to India to see the Maharishi; the launch of Apple Corps; and more…all leading up to the decision to write and rehearse new songs for a TV special and album in January 1969. The rest of the first disc, all of the second, and the beginning of the third let you be a fly on the wall—first at Twickenham Film Studios and then at Apple’s own facilities—as the Beatles work through their issues, play with ideas, and develop material for Let It Be, their last album (though the sessions mostly predated those for Abbey Road, which was issued earlier). Director Jackson wisely eschews any attempt at narration. Instead, words on the screen unobtrusively identify songs and their composers and spell out dialogue that might be hard to decipher. Also identified by captions are the many Beatles-associated people who come in and out, including Yoko Ono, who spends a lot of time knitting; Linda Eastman, who snaps photos of the boys; Linda’s six-year-old daughter, Heather, who dances around and seems to charm everyone; producer George Martin; George Harrison’s wife, Pattie Boyd and a Hare Krishna friend of his; actor Peter Sellers; recording engineer Glyn Johns; Apple press officer Derek Taylor; and Beatles film producer Dennis O’Dell.

Dozens and Dozens of Songs

Throughout these sessions, the Fab Four deliver snippets from dozens upon dozens of songs. There are, of course, early versions of the numbers that wound up on the Let It Be album, including “For You Blue,” “I Dig a Pony,” “Maggie Mae,” “Don’t Let Me Down” and “The Long and Winding Road.” Also: “One After 909,” which John Lennon says he wrote when he was about 15; Harrison’s “I Me Mine,” which he sings while Lennon and Ono dance; and multiple versions of “Get Back,” among them one with lyrics that condemn white nationalism and another that incorporates lines from the Four Tops’ “Reach Out (I’ll Be There).” But these Let It Be warmups are just for starters. Also here are portions of many songs from the Beatles’ catalog, including camped-up versions of “Help!” and “Please Please Me”; a countrified “Love Me Do”; Harrison’s “Old Brown Shoe,” with him on piano; and numbers from the forthcoming Abbey Road, among them Ringo’s “Octopus’s Garden” with him on piano and George on guitar; and an embryonic “Something.” The sessions additionally incorporate material that would show up on 1970s solo albums, such as Harrison’s “All Things Must Pass,” Lennon’s now-more-relevant-than-ever “Gimme Some Truth” and Paul McCartney’s “Just Another Day.” On top of all that, there are more than enough covers of early rock, country and R&B songs to remind you just how acquainted with and indebted to this music the Beatles were. They offer bits of Chuck Berry’s “Johnny B. Goode,” “Forty Days,” “School Days” and “Rock and Roll Music” (the latter intercut here with a film clip of the Beatles performing the song in concert in the mid-’60s); Big Joe Turner’s “Honey Hush” and “Shake, Rattle, and Roll”; Roy Brown’s “Good Rockin’ Tonight”; Carl Perkins’ “Blue Suede Shoes”; Bobby Darin’s “Queen of the Hop”; Gary U.S. Bonds’ “New Orleans”; Wilbert Harrison’s “Kansas City”; Arthur Crudup’s “My Baby Left Me”; the Isley Brothers’ “Shout”; Ben E. King’s “Stand by Me,” which Lennon would later record for Rock ’n’ Roll, his covers LP; ” Little Richard’s “Miss Ann”; the Drifters’ “Save the Last Dance for Me”; Tommy Tucker’s “Hi-Heel Sneakers,” Eddie Cochran’s “Twenty-Flight Rock”; and the Everly Brothers’ “Bye Bye Love.” Here, too, are bits of Bob Dylan’s “Mama, You Been on My Mind” and “I Shall Be Released”; Hank Williams’ “Take These Chains from My Heart” and “You Win Again,” the latter in a tongue-in-cheek version sung by Lennon; Emile Ford’s “Why Do You Want to Make Those Eyes at Me For”; Ray Charles’ “Hallelujah I Love Her So”; Canned Heat’s “Going Up the Country”; “Woman,” the McCartney-penned Peter and Gordon hit; and the traditional “House of the Rising Sun” and “Midnight Special.”

Fascinating Conversation

Watching and hearing the Beatles run through all this material is a fascinating experience but their conversations are no less interesting than the music. Under pressure to come up with new material, they note nervously at one point that while only 12 days remain until their planned live show, they have just a few songs ready. They talk about perhaps canceling the performance and of doing it with or without an audience. They also discuss a wide range of possible venues, including a farm, a boat, a hospital, an orphanage, a ballroom, the House of Parliament and even an open-air stadium in the ancient Libyan city of Sabratha. After keyboardist Billy Preston arrives to say hello and winds up adding keyboards on seven of Let It Be’s 12 tracks, the group talks about making him the fifth Beatle. Harrison comments that he previously asked Bob Dylan to join the group and McCartney quips that, “It’s bad enough with four.” Elsewhere, they reminisce about their trip to see the Maharishi in India and talk about how their feuds will be viewed in 50 years. At one point, John gleefully announces that Yoko’s divorce just went through. He also raves about manager Allen Klein (“an incredible guy”), but engineer Glyn Johns seems skeptical of him. Paul, meanwhile, talks about getting over “the nervousness of playing to an audience.” The story for decades has been that these are the sessions when the Beatles fell apart, and there’s certainly plenty of evidence here to back that up. They talk of a possible “divorce” and lament the death of Epstein, who they agree gave them a sense of discipline that is now lacking. Harrison says, “The Beatles have been in doldrums for at least a year,” and tension is particularly high between him and Paul. At one point, Harrison comments offhandedly that it’d be nice to do an album on his own; at another, he responds to an instruction from McCartney with, “Whatever it is that will please you, I’ll do it.” Finally, near the end of part one of the film, an exasperated Harrison abruptly announces, “I’m leaving the band now,” adding “Get a replacement” and “See you ’round the clubs.” Says Lennon nonchalantly, “If he doesn’t come back by Tuesday, we get [Eric] Clapton.” Later, though, he and McCartney sound more concerned as they discuss what to do about Harrison’s departure in a conversation captured by a hidden microphone.

Moments of Joy

The situation turns out to be more complicated than scenes like this make it seem, however, because the signs of discord are interspersed with many moments of pure joy as all four members of the group rediscover the pleasure of one another’s company and the thrill of making music together. Lennon and McCartney affectionately revisit obscure and frequently charming songs they wrote when they were starting out, such as “Just Fun,” “Because I Know You Love Me So,” “Fancy My Chances with You” and “Too Bad About Sorrow.” Also: McCartney’s “I Lost My Little Girl,” which was the first song he ever wrote (he was 14); and Lennon’s “On the Road to Marrakesh,” which sounds like an early version of Imagine’s “Jealous Guy.” The four clown around, play one another’s instruments, and read news articles about the Beatles out loud and laugh. There are many times when John and Paul in particular share smiles and jokes, affect accents, sing “Two of Us” through gritted teeth for laughs, and seem entirely in sync musically. At one point, McCartney plays piano as Ringo tap dances, and George and Paul both play drums at various times. For one song, Yoko puts down her knitting and sings lead. John dances with her at several points; he also dances with Paul. Say Ringo, “Don’t assume it’s our last TV show just because we’ve got a bit grumpy.” Indeed, all is not lost, at least not yet: after John, Paul and Ringo meet twice with George, he returns to the group near the beginning of part two of this series, and they start recording in a basement studio in Apple. As part three begins, only three days remain until the scheduled (but unannounced) Jan. 30, 1969, rooftop concert above Apple’s offices on London’s Savile Row. Even in the hours before it, the four are still discussing whether to do it. But they do, and with gusto, and the entire performance appears here for the first time in its entirety.

Mixed Reactions on the Streets

Down on the streets, where cameras have been placed, the public seems divided. An interviewer talks to pedestrians, many of whom seem delighted by the surprise concert and say things like, “I’m all in favor of it!” But one man says it “absolutely disrupts all the business in this area” while a woman gripes that “it woke me up from my sleep and I don’t like it!” Then the police show up, say that “we’ve had 30 complaints of noise within minutes,” and demand that the performance end or they’ll start arresting people for disturbing the peace. The Beatles—whose associates do their best to stall the authorities—manage to get through five songs (some more than once) before the cops work their way up to the roof. When the bobbies finally arrive there, the Beatles wrap up a take of “Get Back” with McCartney ad-libbing about how playing on a roof will get you arrested. Then they head downstairs to listen to a playback of the tape. Before they do, Lennon famously calls out, “I would like to say thank you on behalf of the group and ourselves and I hope we’ve passed the audition.” Yes, you have, John. As for the cops who tried to shut down the first Beatles concert in years—which also turned out to be the last gig ever by this legendary group—well, as far as yours truly is concerned, they flunked their audition.

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*Several video clips and links to related articles here: BEST CLASSIC BANDS

Mighty thanks for posting

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treaclefingers

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TheGreek
I know I am a tad bit late to the party , but I have just begun watching the first part of Get Back and am impressed by the camaraderie of the 4 Beatles . Very interesting watching how they go about there work in the studio . I have read so much stuff over the years of how they supposedly hated each other by this time and I did not see that so far in my viewing . I did see the tension between Paul and George as Paul is directing his bandmates and that is interesting to see Paul doing so (also pretty mind blowing for me in seeing the direction that Paul is giving Ringo for the drums , I mean is Paul's musical I.Q off the charts or what ? ) . I did see the humor shared by the Fab 4 just like mischievous teenagers with wicked senses of humor . Yoko Ono sitting in between the Beatles like a guard tower . Very bold to be seated like this , but hey what do I know ? I very much want to skip right over to the end to watch the rooftop show in it's entirety for the first time ,but I should probably watch it in the order that the director intended . I will post back more of my impressions .

Enjoy it, for it is very enjoyable and very well put together.

Well worth the wait and something very fun for me .

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CaptainCorella

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treaclefingers

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TheGreek
I know I am a tad bit late to the party , but I have just begun watching the first part of Get Back and am impressed by the camaraderie of the 4 Beatles . Very interesting watching how they go about there work in the studio . I have read so much stuff over the years of how they supposedly hated each other by this time and I did not see that so far in my viewing . I did see the tension between Paul and George as Paul is directing his bandmates and that is interesting to see Paul doing so (also pretty mind blowing for me in seeing the direction that Paul is giving Ringo for the drums , I mean is Paul's musical I.Q off the charts or what ? ) . I did see the humor shared by the Fab 4 just like mischievous teenagers with wicked senses of humor . Yoko Ono sitting in between the Beatles like a guard tower . Very bold to be seated like this , but hey what do I know ? I very much want to skip right over to the end to watch the rooftop show in it's entirety for the first time ,but I should probably watch it in the order that the director intended . I will post back more of my impressions .

Enjoy it, for it is very enjoyable and very well put together.

100% agree.

The original version of the movie (Let It Be) was definitely not the arguing gloom and doom that legend portrayed it to be. (Indeed that was what I thought until I got a very good copy of it in about 2006 and watched it again).

However, the original was definitely not the uplifting film about enduring friendship, mutual respect, and love that the new version has turned out to be.

Peter Jackson's version a celebration.

We should all be grateful that they gave the task to Peter Jackson. He's not know for turning out films shorter than they need to be, and even so this one is not quite long enough. :-)

(I was lucky enough to watch the limited IMAX release of the rooftop concert segment (plus a tiny bit more), and that's simply mind blowing on the biggest IMAX screen in the world!).

What is strange for me is that I seem to remember some of the studio footage from somewhere in the 70's . From where is a mystery to me . Peter Jackson work speaks for itself and I am impressed mightily as I never got into Harry Potter or the other piece of his . The Fab 4 had there share of issues which were well publicized and written about . The one thing that comes clearly across is they are "Family" and there is genuine admiration and fondness and even dare I say love as from my eyes it is not manufactured for the cameras . Also I have to compliment the Fab 4 on there musical genius and I.Q. which is off the charts high !

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treaclefingers

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Hairball
From Best Classic Bands:

The Beatles’ ‘Get Back’ Arrives on Blu-ray: Lots of Music, Even More Surprises
by Jeff Burger

GET BACK

Lennon famously calls out, “I would like to say thank you on behalf of the group and ourselves and I hope we’ve passed the audition.” Yes, you have, John. As for the cops who tried to shut down the first Beatles concert in years—which also turned out to be the last gig ever by this legendary group—well, as far as yours truly is concerned, they flunked their audition.

I'd cut these cops a little slack. Young guys with a job to do. Had to be super intimidating.

I think the whole situation worked as a 'foil' for the show...will they or won't they pull the plug?

You couldn't have planned it better.

As much as I want to hate on anyone who is there to 'shut it down" I have to admit that when you are paid to do a job, and you either get it done or your done .

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TheGreek

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Hairball
From Best Classic Bands:

The Beatles’ ‘Get Back’ Arrives on Blu-ray: Lots of Music, Even More Surprises
by Jeff Burger

GET BACK

Mighty thanks for posting

I wish the Stones would do something that's a fraction as cool and comprehensive as this release, but then again the Beatles led the way with the Anthology series back in the '90's.
Meanwhile, the Stones are milking it every step of the way with "deluxe" reissues while they spurt along on their mini-tours, and can't even deliver a single album of originals they've been yapping about for many years now.

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Rip this joint, gonna save your soul, round and round and round we go......