Notes

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TWICKENHAM SET DISC 6:
"DICK JAMES IS A FASCIST BUM"

There is very little of Disc number 6 that surfaced before on vinyl. In fact, the entire has segment I is not even mentioned in DDSI. The few other items that have been out (on Code Name Russia or on the Orange Rockin' Movie Stars CD's) are here in the best available quality.

January 10th is the infamous day that George left the band. The entire project; the lack of direction, focus, energy, cooperation, as well as one another's respective personalities, were getting on the nerves of all involved. No one could agree on ideas for the live show, and they found the facilities to be less than desirable, and not at all conducive to creating music. And then there was the ever present cameras and microphones. The communication skills (and the motivation) of the four were at an all time low, and the idea that any comment, argument, etc would be captured for all eternity on tape could not have been an incentive to FULLY speak one's mind.

The morning segments hardly indicate anything brewing to cause George's departure. Moods seem good. Paul is at the piano, following his daily pattern running through various tunes. Over his playing, a number of conversations take place, some more audible than others, due to the mixing of the "spy mikes". These dialogues deal with smoking cigars verses cigarettes, getting stopped for speeding, and how a uniform can change people. George then talks about a film maker that he's invited to drop by later to show some of his multi-screen/image work that George feels could be incorporated as incidental background for their music.

Obviously, Michael is not taken by the idea of another filmmaker entering his turf, and changes the subject by asking about Alexis (Magic Alex). George goes into the story about how they hooked up with him, and then explains that Alex has designed quite a lot of things, but hasn't made them because he's been so busy building the new studios [HA HA HA! - ed.]. Michael asks if the device Alex designed to put on records to prevent people from taping them will work. George thinks so, and everyone seems to think it's a marvelous idea. Ringo points out that John thinks it makes for "bad Beatles". George defends his position stating that Americans with those cassette recorders [a VERY expensive item in '69 - ed.] will run off copies and sell them. Michael chimes in with "If you're rich enough to buy a cassette recorder, you're rich enough to buy an LP", obviously missing the point. The ironic part of this whole conversation is that they are worried about some kid knockin' off a few copies of their new album, while Magic Alex is taking them all for more money that any American cassette taper could ever pocket!

Later, the talk turns to the upcoming Apple meeting to be held at Ringo's house that weekend. George also tells John that Neil wants to meet with them tomorrow about "exciting good news". John asks if it's about "pig". George answers "No, not with him, but with some of the other pigs". From the secretive code and tone, there is probably new information regarding the police involved in their past drug busts. During a conversation with Dick James, Paul launches into "Get Back" (10.0j). He stops and comments to Glyn that George's chord "get back, ching" is a bit "passe". Paul wants something more "Pete Townshend"! Paul continues to experiment with various tunes, and the conversation turns to cars, before Paul finally gets things started.

The "Get Back" rehearsal seems to go quite well. They are making progress; working on both the structure and the lyrics, which results in a very enjoyable, upbeat version, complete with the Pakistani political verse. After a short diversion into "Hi Heel Sneakers", Paul suggests that both John & George could each take a solo, like in "Long Tall Sally", which prompts a brief, very loose jam of that tune, mixed in with "Get Back". John tries the opening of the song a few different ways, and this is followed by Paul trying to convey to Ringo his ideas for the drum bits.

Whatever caused George to leave must have happened at lunch. The next segment here picks up just after George has left, and three VERY DRUNK Beatles (plus Yoko) are in the middle of a jam that began with John's reprise of "Soon be home", from the Who's "A Quick One While He's Away". This jam, which sounds a bit like "Don't Worry Kyoko", moves through all sorts of intensity levels. It features ferocious drumming from Ringo, manic guitar from John, mega-feedback from Paul and a wide range of "ah"-ing from Yoko. Tremendous.

Next up is the feedback version of "I've Got A Feeling". (This must have been a liquid lunch!), and a scream filled send-up of "Don't Let Me Down". They try to continue on with rehearsals by attempting "Maxwell ...". Ringo starts in, and is reminded of "Mack The Knife", of which he sings a line or two. Paul comes back with a few notes and the opening words of "Teddy Boy" (they always kidded Ringo for being a real Ted in his early days). "Maxwell ... " turns into a drunken parody, and it's quite obvious that they are not gonna get any serious work done. It is interesting to note that the Beatles themselves are not heard talking directly about George leaving by this point, but they refer to the event with their sarcastic calls of "take it" and "solo" at the appropriate points in a few of the songs. It seems that George Martin and Michael are the only ones voicing any concern.