Get Back

Just when we thought we saw it ALL!

Ok so, you may have inhaled all 3 parts in real time. I’m in no rush. I want it to last. I’ve only finished 1 & 2 so no spoiler alerts please. Not that I don’t know where this thing is going. 

I’ve heard that some ppl think it’s boring. I’m not disappointed. For a songwriter this is crack. 

I can only scratch the surface of the depths of all the footage. Here are (so far) some of my favorite observations and private thoughts:

First off…as songwriting goes, Paul & John demonstrate how a senseless but aesthetically pleasing mock lyric — or dummy lyric — is the gold standard placeholder until the perfect adjective, object (or city) comes to light. The process of deciding that Jo Jo would not have a last name and that he lived in Tucson, not just Arizona, was illuminating. Paul and John were just batting it back and forth like the rest of us except their songs were so much better than anyone else’s. 

Another notable exchange of lyrics is ‘road hog’ for “skylight” — the latter definitely not as ‘beige.’ And if there was anything John wasn’t it’s beige. 

God Paul is gorgeous. I can’t even. Is it possible for a human to be that drop dead hot? And so talented to boot. And personality for days. He could have made quite a side fortune (as if he needed the dough) as a sperm donor.  😬

Ringo plays the piano!

That Spinal Tappish ‘Stonehenge’ moment when everyone’s brainstorming about where exactly to have this show that’s 2 weeks away (a ruined temple in Libya, some public garden, an orphanage).

George and Ringo nodding off while Paul is noodling the beginnings of “Get Back” — like it’s just some other random ditty that might wind up on the cutting room floor. Yawn. I mean, Paul is a faucet. He never stops. How were they to know?

When Paul (again) is sitting on the piano bench with Glyn Johns at his side conceiving “The Long And Winding Road,” and Glyn suggests that “standing” is the preferable verb for what Paul (as the character in the song) is left doing — (“You left me standing there”), Paul concurs. In today’s writing rooms Glyn Johns would get 15%. 

Ringo confides to the camera, “I can listen to Paul play for hours.” After the simmering of animosity in the atmosphere I actually ask myself if Ringo (Richie to them) is being facetious. He isn’t. Ringo isn’t competitive or hostile. He’s happy to be there, sticks in hand ready to accommodate at any moment with a beat.  

It’s obvious Paul is a genius. (So how is it possible he’s the same genius who put forth “Fuh You” and “Come On To Me” a few years ago? Don’t get me started. But I digress.) Paul is the glue that keeps the band together. Gives them direction. That said, all 4 members were 1 of the colliding stars that made this phenomenon possible. And John was half of the iconic writing team. So why, I wonder (still in part 1) is there so much more emphasis on Paul? Like…was he involved in the editing process? 

After all, John is sadly not around to have had a look at the final cut and call foul. 

I’m reminded that Part 1 covers a time when John and George were poised to walk away and Paul was the glue. There’s still a lot more footage to see and hopefully there will be more light shone (shined?) on John’s genius. 

But thus far…it really seems like he doesn’t want to be there. This makes me so sad. 

I want to buy them all shampoo. Ok, maybe not George. 

How annoying is Yoko?

George is not afraid of presenting a new song. (Can you imagine playing an original for John Lennon and Paul McCartney? LOL!) It’s kinda mean-spirited of John to poke fun of “I Me Mine” but George just keeps playing. He must have figured ‘well if Paul McCartney likes it that’s good enough.’ 

This makes up for Paul always telling George what to play. But you know what? Paul was right. Cuz, well, those records are pretty good! But I get where George is coming from. He has all this pent up creative energy and he wants in. It took balls (and conviction) to walk out.

And when he does, Mal plants a bug in the room where Paul and John are talking (in private?) about how to get George back! (Why can’t they plant one in George’s home when the 3 of them go talk to him? That’s a conversation I would like to hear as well. All we get is the image of George’s palatial estate and a screen banner that reads ”Paul John and Ringo talk to George.” Poo! 

I find it interesting btw, that they didn’t panic when George left. Were they confident he’d return? And if he didn’t would they really tap Clapton (as mentioned) — the man who would steel George’s wife — to take his place in the band? Yikes! Bold move.  

George comes back, PHEW!

But it was never revealed what they said to turn him around. Maybe they promised a certain amount of cuts on the next 2 albums. If so that was a good arrangement cuz then George happened to write “Something” and “Here Comes The Sun.” Mic Drop. 

It matters where u work. If the environment (Twickenham Film Studios ) doesn’t have the right vibe neither will you. 

How the mood changes when they move to Apple. 

How did the fan-girls outside the studio find out where the band is recording? I mean - where is everyone else?

There’s a lot of “fucking around,” or silliness going on…a songwriter has to imagine it serves to warm them up (like stretching before running). And it works. Like magic. literally.  (We should all try that that more often!)

George Martin giving them space…reading the paper…until they’re “ready. “

John is coming back to life. He’s having fun. I’m not as sad anymore. Yay!

 “Two of us” is most definitely about the 2 of them — John and Paul at their best. When they get it right there’s nothing like it — the familiarity of crawling back into bed with an old lover. In fact I thought I heard John say, “It’s like he and me are lovers.” 

Billy arrives. His magically and musicality is perfect! The looks on their faces when they realize how good they all sound together. The look on Billy’s face when he hears how good they all sound together. Who’s happier - the Beatles or Billy?

My pal Kevin (REO) Cronin, with whom I watched the doc, had an astute observation — not surprising for a lead singer of a band that’s been touring for over 40 years: 

The idea that they were all willing to come into a room with out any songs written yet for a show that was two weeks away and be filmed trying to come up with them is pretty brave…who does that?

The Beatles do.

Thank you, Peter Jackson….way to pullback the curtain and for giving us something other than politics to talk about.

Fire up the popcorn. I’m ready for Part 3.

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