Get Back (Rooftop Performance)
This is really a tribute to Paul McCartney
I, like many who had to endure a Very Covid Christmas, watched all 9 hours of of Get Back as it was released. It’s an incredible insight into how humans collaborate to create art. I was enraptured watching those lads dick around in the studios as their creative forces collided and spun out. Just now, streaming platforms have released the tracks recorded in that final Beatles concert. (Convenient timing for Spotify 🙄)
It’s a crazy performance, even more so without the visuals. The songs were JUST created, and essentially being performed full through for maybe the first time. It’s funny and strange to listen to these tracks without the visuals, so I thought I’d do a little review here.
Get Back (Take 1)
After a minute of setup and nerves, the energy in this performance is manic. Paul has clearly been itching to perform with his mates for years, letting out a little “yeah!” before the song even starts. His hype is a little ahead of the rest of the band, who try to keep in time while falling behind in energy.
Get Back (Take 2)
Okay, warmup is over. Paul has maybe caught onto the other’s trepidation, and therefore focuses on a more controlled vocal performance. Ringo’s steady and energetic drum rises as the star of this performance. After the bridge, Paul once again reaches his high-octane mode, this time along with The Beatles.
Don’t Let Me Down (Take 1)
Lennon leans into his ‘69 weirdness in the vocal delivery, which culminates in a flub in verse two. But Paul and John’s classic, easy harmonies provide a safe landing zone to stabilise the song. Each chorus is a satisfying triumph of collaboration.
I’ve Got a Feeling (Take 1)
John and Paul’s difference in attitudes towards performance couldn’t be more apparent here. John, still reeling from the last song, takes a backseat in the harmonies. Though, even if he was giving his all, NOTHING could touch Paul in this song. Where John is maybe at a 5/10, Paul is at 100. He screams right from the middle of his throat for the entire pre chorus. This is what high school theater teachers should show students to get them to give more energy in ensemble numbers. Paul might say this song was written for Linda, but that passion is all fuelled by his love of performance.
One After 909
I’m gonna be honest, I don’t really care about this song.
It’s cute though. They sound like they’re all having fun. 🎵 oh danny boyyyy
Dig A Pony
The song starts almost 2 minutes into the track, and once it starts, SEAMLESS. This is a band who is finally comfortable performing together again. The confidence and synchronicity of the harmonies and tempo is just so right. George is the MVP of this song, getting his moment to shine while matching the tone perfectly. Also, when John sings “syndicate any boat you row,” he REALLY sounds like Bowie.
God Save The Queen
Perfectly captures the chaotic energy of those boys trying to get anything done.
I’ve Got A Feeling (Take 2)
GOD. WHY COULDN’T THEY PERFORM TOGETHER MORE. This version doesn’t have the verve as the previous one, but has some new improvised Lennon lyrics. Everybody’s had a hard year / Everybody’s had a head dream, everybody’s on the sunshine, everybody gotten obscene followed but the sweetest “oooh yeah.”
Don’t Let Me Down (Take 2)
Excellent. Second verse same as the first, with a now confident John. Hearing him really scream to hit those notes is just so much more satisfying than the high mumblecore he was doing before.
Get Back (Take 3)
You would think a third take was unnecessary, but I am so glad this was caught on tape. The cops are there now. The Beatles, on the verge of being arrested, start to splinter once again in energy. A full revolution from the start. Paul, sensing good trouble, adopts a puckish tenacity in his delivery. Ringo and George seem more sensibly nervous about the situation, speeding up the tempo to get the song done faster, sometimes dropping out to check behind them. There’s also a sense that it’s their last song, but as long as they don’t stop playing, nothing can get them. Meanwhile, Paul is stoked out of his mind, ad libbing about how Loretta is going to be arrested. Eventually, it stops, followed by polite applause. It’s a perfectly chaotic end to the performance, the project, and their shared onstage careers.