Beatles Get Back 17: January 26

Part 3 opens with the now-familiar disclaimer about swearing and cigarettes, and the captions remind us that the band has been rehearsing for “a live album… and possibly some kind of stage show.” With the end of January as a deadline, they aim to perform on the roof of the Apple building in three days’ time. Meanwhile, we hear George playing “Window Window”, which he’d go on to demo again for his 1970 solo album but ultimately abandon.

Ringo shows off his latest on the piano, which will become “Octopus’s Garden”. George is impressed that Ringo finally learned a fourth chord—A minor in this case—and comes over to help him finish the song, suggesting other chords to fill out the verse. Soon Mal is writing down the words, and George Martin is humming possibilities for an arrangement. John and Yoko arrive, and as soon as he can light a cigarette, John hops behind the drumkit, so now we’ve seen every Beatle on the drums. It really is a charming scene.

To add to the overall cuteness, Paul and Linda arrive with her five-year-old daughter Heather, who immediately endears herself to everyone present. Once Billy arrives, she’s already wearing Glyn’s furry coat, singing along with their rehearsal of “Let It Be”, and helping Ringo on the drums. A jam develops, and after hearing Yoko do her trademark wailing, Heather tries some of her own. This turns into an arrangement of “Twist And Shout” that evolves in meter to what we now know as “Dig It” from the Let It Be album. (Part of this was also seen in the Let It Be film, as was some of the oldies jam, which was also included on Anthology 3.)

A bossa nova “Long And Winding Road”, also seen in the original film, leads to a more serious rehearsal of same. These take a while, mostly due to John’s lack of aptitude on the six-string bass, but also because it’s one of the slowest songs they’ve ever done. Eventually they nail the performance that will be the basis, after much slathering of strings, choirs, and other elements bound to induce diabetic shock, of the song on the Let It Be album that would be their final #1 single. (Jackson’s edit includes a good deal of discussion, with input from George Martin and Glyn, about the track and possible arrangement ideas. Strings and brass are mentioned, as are the Raelettes from the Ray Charles band.)

Everyone, particularly Heather, is still in a good mood at the day’s end. It hasn’t been the most raucous Sunday, with less than 20 minutes devoted to it here, but it’s been productive. Again.