January 9, 1969, marked the last full day all four Beatles worked together at Twickenham during the Get Back sessions. Here are a few loose ends worth tying up before the pivot point of January 10.
“Junk” (Paul’s hand-written lyrics, from the White Album deluxe companion book)
Conceived in India in 1968 and born at Paul McCartney’s home in 1970, “Junk” and “Teddy Boy” were under a period of gestation in the studio in January 1969. These brothers in song, destined to be released together on Paul’s eponymous solo record, were likewise introduced to the Get Back sessions in tandem on January 9, 1969.
This wasn’t any attempt at a rehearsal, just a light breather between takes of “Across The Universe.”
“Remember that one?” Paul asked the room after a spinning off a quick, shuffling verse of “Teddy Boy.” That song’s story will continue later, after the action shifts to Savile Row.
“And ‘Junk’?” Paul continued.
That song, while lyrically incomplete, was formed enough to be among the May 1968 Esher demos, but except for this momentary appearance, it wouldn’t surface again during the Get Back sessions and it never seemed to be a contender for Abbey Road, either.
It’s a stretch to even call this a performance.
After mentioning the song’s title, Paul rattled off a few words (“epsilon,” “elephant,” “parachute” were the most recognizable) in an exaggerated French accent — John Lennon chipped in, too — to the tune of the song before they quickly return to “Across the Universe.”
A key takeaway from this sequence is the nostalgia with which Paul asks “remember that one” to John, as if these were songs from their childhood, not merely less than a year old. Paul, especially, will refer to the trip to India as if it was another era. More on that as we get to those portions of the tapes.
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We’re living in the wrong timeline.
John: “I’d like to do a number just on electric”
In another universe, John’s “Quit Your Messing Around” is hailed as essential proto-punk, a harsh, noisy sound brought into the mainstream. In ours, however, the song is a sub-30 second blast of chords followed by John’s four-word request, obscured by so many other electric (and acoustic) numbers throughout the day’s songs on the tapes.
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Surrounded by a film crew for a week already, the Beatles were still learning the extent of personal coverage a week into the sessions.
“This is the bugging device,” Michael Lindsay-Hogg said. “So we can surreptitiously bug your showbiz conversations.”
In this sequence, both Ringo Starr and George Harrison on separate occasions asked if “that” was the tape.
This bugging device will be a part of the story the next day of the sessions.
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Ringo was consistent, at least. He resisted traveling abroad for a concert, and he lobbied against needless travel for his role in The Magic Christian, too.
Film producer Denis O’Dell was working on selling Ringo on filming a scene in New York, mostly to get a single distinctive shot.
“We thought of doing one day in Wall Street,” Denis said, though conceding he was “two-minded about it.”
“If we’re just going to America for one scene … I mean, I’ll do it. I don’t think it’s worth it.. .. And who knows Wall Street? I don’t know Wall Street. Unless you put up a sign that says “Wall Street,” I’d have no idea what it looks like.”
The scene was never filmed. But four months later, Ringo joined the rest of the cast and crew on the QE2 as it sailed for New York to celebrate the end of filming.
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As the day’s session came to a close, John and Yoko Ono apologized to Paul — and notably not the film’s director or producer — for consistently rolling into the studio well after the others. Paul’s reply was a study in passive-aggressive behavior.
Yoko: Are we getting later and later?
Paul: … It’s getting to be a habit.
John: OK, we’ll come in …
Yoko: … around 10,
Paul: I’m getting used to it! Don’t throw me now.
They May Be Parted 