Tag Archives: I Me Mine

Jan. 8: Look Around

It was 12 days until their scheduled concert, and on January 8, 1969, the Beatles were loose, relatively upbeat and open-minded, uncommon characterizations associated with Get Back/Let It Be sessions. Still, there wasn’t even consensus on what continent to stage the concert, much less what venue or what kind of audience would have tickets to the show.

What they lacked in plans and new material — Paul would insist the group would produce a few “rockers” soon — the Beatles at least had no shortage of live productions against which they could reflect and project.

Two classes of potential inspirations highlighted discussions to this point: recent live broadcasts by their peers (eg., Cream’s Farewell Concert, the Rolling Stones’ Rock and Roll Circus) and the Beatles’ own history on stage and on the small screen. The audience was as much a consideration as the venue.

In the final hours of the day’s sessions, as the group continued to work on George’s new song “I Me Mine,” John and Yoko waltzed the room right into a continued deliberation of the staging of the imminent show.

“I think the thing to do is just put you all in a framework, which will be just, like, the audience and a stage,” pitched Michael Lindsay-Hogg, who was tentatively willing to settle for a simple approach if his preferred idea — an overseas trip — was denied. “And by the time we get to the stage, we’d have a routine of numbers. We can find each number how they fit theatrically, like your dance for that one, like the song that you cry in and the song you do that brings tears to everybody’s eyes.”  Off mic, it was joked there’ll be the one song that’s done in the wrong key.

Twickenham's Stage 1. What a pretty palette!

Twickenham’s Stage 1. Simply gorgeous!

“Seriously,” the director continued. “Almost, we should end with ‘Good Night’ or whatever song is going to be like ‘Good Night’ this time. … The end of the show should be a tearjerker like ‘Hey Jude’ or like ‘Good Night’ or like something else.”

Two large signs promoting the show’s working title — “January 20, 1969” — would hang as a backdrop. “And it’s the 19th of February, 1982,” John injected for a laugh and commentary on the decision process’ plodding pace.

When Paul asked about the composition of the audience, Michael answered forcibly, “Human beings, and the first thousand who queue up.” John was more specific, positing “pastry cooks from Walton-on-Thames” would be in attendance.  (John’s joke was told nine weeks before the London suburb actually became a footnote in Beatles history: George and Pattie were fined for drug possession in Walton-on-Thames on March 12, 1969 — the same day Paul and Linda married.)

To snickers, Michael proposed voice overs for each song. E.g.: “Now Paul sings a song of true love.” 

The audience seated at Twickenham’s Stage 1 would sit in the round, either at three-quarters or fully encircling the group. “You could build this place great like that, all of it like a coliseum,” Paul said. “Four sides, then on the top of it all, your cameras, or a camera.”

“I still don’t think that’s our best idea, for the record and on tape,” Michael replied, resigned. “But I think if that’s what we’re going to do, it’ll be fine. Because I’ll make it fine, and you’ll make it fine.”

Coliseums real (Sabratha, top) and fabricated (Rediffusion's Wembley Park studio)

Coliseums real (Sabratha, top) and fabricated (“Around the Beatles” at Rediffusion’s Wembley Park studio)

The bar for the Beatles’ triumphant return to the stage re-established at “fine,” Michael conceded “torch-lit is for next time.”

While the coliseum-style arrangement recalled to Michael the currently shelved Sabratha, Paul was reminded of a moment in the group’s history from four and a half years earlier, when Beatlemania was at its peak.

“It’s a bit like ‘Around the Beatles.'”

“Ah, I was thinking about that,” Michael said. “That was a very good show. That’s why I think it should be kind of theatrical. … Also the Presley show they’ve just done, apparently, which has more of an ‘Around the Beatles’ audience.”

In reality, the live sequences in the ’68 Comeback Special — broadcast on NBC as, simply, “Elvis” — had more of a “Hey Jude” vibe than an “Around The Beatles” one; there was always a distance between fans and the band in “Around the Beatles,” while “Hey Jude” and the Comeback Special put the musicians within reach of the crowd, and the King several times interacted directly with the commoners. What “Around the Beatles” and the Comeback Special did share in their audiences was its enthusiasm-cum-mania.

The Comeback Special was being cited in discussions of the Beatles ’69 show, but it had no influence on the “Hey Jude” taping, or vice versa. Elvis filmed the concert portion in late June 1968 but those tapes weren’t broadcast until December. “Hey Jude” was filmed in early September 1968 and broadcast days later. The two paths never crossed.

compare

Way beyond compare: Around the Beatles (left), Elvis’ Comeback Special (center) and the “Hey Jude” promo film.

Elvis triumphantly rehabilitated his rock and roll credentials with his special; the Beatles didn’t need to do that. Yet …

“One of the things we’re up against,” Michael continued, “is all the past things you’ve done.”

Here we are with a reference to the past again. The Beatles did a lot. But surprisingly, although they were commonly featured across all facets of the media, they had very few their own television programs.

“There’s only about three of them,” Paul said, and John rattled off the list: “‘Magical Mystery Tour,’ ‘Around the Beatles’ and ‘Shea'” — the latter the landmark 1965 concert at the former New York Mets ballpark that was broadcast a year later on BBC and in 1967 in the U.S. on ABC. (It recently had a run in theaters in 2016, remastered and looking downright fab as the capper to the enjoyable “Eight Days a Week” documentary).

But “Magical Mystery Tour” was a scripted musical, and “Shea” was a concert film. So that means …

“‘Around the Beatles’ is our only ever TV show, isn’t it?” said Paul.

“And it was good,” Michael said, as Glyn Johns  — who had his first encounter with the group engineering a recording session for the music used in “Around The Beatles” (they lip-synched on the show)  — called the program “fantastic.”

After John broke into a few seconds of “Shout” — the finale of that show  — Paul complained to Michael about a theater-in-the-round setup, arguing it’s a step backward, replicating the set of “Around the Beatles.”

“I think with every idea we will have is bound to be …  any of us can pick out a negative side to it,” Michael countered.

“Yeah,” Paul replied. “But it should’t be too heavy negative a side.”

Michael asked the others for input, but John replied by playing Chuck Berry’s “Sweet Little Sixteen” — a song Michael said, without explanation, “always frightens me” — and swapping in a variety of British locales for the original American cities. (John delivered a more serious reworking of the song six years later on his Rock ‘N’ Roll album).

Returning to “I Me Mine,” Michael remarked John and Yoko’s waltz is “kind of theatrical. And it’s also romantic, and it also fits the song.” Michael was also concerned about the complete bill and “what’s going to be our mind-blasting topper at the end, which I think ought to be a weep-weep, myself. A bang or a cry.”

Paul leaned toward the bang, saying, “we intend to write a couple of rockers.” That worked for Michael — at the beginning, at least. “I think you should open exciting and end with the audience in tears.”

John launches into another Chuck Berry number, this time “Almost Grown,” and is soon joined by Paul. Pleased, Michael said, “That’s what January 20, 1969″ is all about.”

The documentary portion of the production returns to Michael’s forefront when he asks his crew if this performance is being filmed — don’t forget, while the Nagra tapes recorded sound throughout the sessions, the group wasn’t consistently filmed.

Despite the illusion, it was time to get back to work, and Paul returned to setting the agenda.

“Are we all right on George’s number (‘I Me Mine’)? I’m not. Are you? Should we keep doing it a bit more?”

And so, for the time being, the Beatles ended negotiations regarding the live show. The metaphors don’t come much easier: The Beatles’ recounting and considering a return to a theater in the round left them talking in circles.

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TMBP Extra: Since he fell out of the womb

Over the years, we’ve celebrated the birthdays of Paul McCartney and John Lennon, looking back at the periods straddling the big days in 1968-1969. Today it’s George Harrison’s turn. It may be the 73rd anniversary of George Harrison’s birth today, or it may be the day after the 47th anniversary of his birth. With Liverpool under bombardment during World War II, keeping the records became confused that day in 1943. But February 25 is the day George celebrated, so it’ll be the day we mark, too.

1968, in India. That's actually a cake for Pattie Boyd, whose birthday was a three weeks after George's.

India, 1968. That’s actually a cake for Pattie Boyd, whose birthday was three weeks after George’s.

George’s 26th birthday came just a few weeks after the Beatles wrapped up the Get Back sessions at Twickenham and Savile Row. It capped a remarkable year in his life and career,  one that could fill a book, much less a blog post.

George’s 25th year began in India, less than 10 days after the Beatles arrived to study Transcendental Meditation under Maharishi Mahesh Yogi. Their retreat lasted nearly two months (for George, who outlasted the rest of the Beatles), transforming the four men, their music and Western culture along the way.

Starting in May and lasting throughout the summer, the Beatles recorded The Beatles. The double White Album, featuring a career-high four compositions, would be released before the winter. In between, George produced Jackie Lomax and saw the release of his solo LP Wonderwall, which was recorded late 1967 and early 1968. (It’s really great, and worth infinite listens).

With Winter 1968 came another transformative overseas trip, this time on the other side of the earth from India, to upstate New York, where George spent an intimate holiday with Bob Dylan and the Band, playing and writing songs. They were not laying the groundwork for the formation of the Traveling Wilburys about 20 years later, but it’s worth the dream.

That brings us to January 1969, and you can read all about it here and in posts to come. It’s worth noting, George brought Billy Preston into the Beatles’ circle, and then later would produce him for Apple.

What happened next? George had his tonsils out a week after the rooftop concert, and was laid up for about another week.

George breaks up with his tonsils, February 1969. Photo appears in his autobiography, I Me Mine.

George breaks up with his tonsils, February 1969. Photo appears in his autobiography, I Me Mine.

He joined the rest of the Beatles on February 22, 1969, to record the first 35 takes of “I Want You,” essentially beginning the Abbey Road sessions, and that about brings things up to his 26th birthday, on February 25, 1969.

Of course, that’s not it. What about the music? Check out this list of Harrisongs composed or at least worked on seriously between his 25th and 26th birthdays (listed alphabetically, with one obvious omission I’ll explain below): “All Things Must Pass,” “Badge” (with Eric Clapton), “Circles” (eventually released in 1992), “Dehradun,” “For You Blue,” “Hear Me Lord,” “I Me Mine,” “I’d Have You Anytime,” “Isn’t it a Pity,” “Long, Long, Long,” “Not Guilty” (left off the White Album, was released in 1979), “Nowhere to Go” (All Things Must Pass LP outtake written with Dylan), “Old Brown Shoe,” “Piggies,” “Savoy Truffle,” “Sour Milk Sea” (written for Jackie Lomax), “Wah-Wah,” “While My Guitar Gently Weeps,” “Window, Window” (another All Things Must pass outtake). And there’s probably others we don’t know the origins of that would fall in this timeframe too.

Not too shabby. As a bonus, he finally had his first song to appear on a Beatles single — “The Inner Light” was on the flip side of the “Lady Madonna” single, released while they were in India.

Oh, he bought a Moog, too. More about that later in 1969.

George had a really good year, artistically. It was an important one spiritually, too, and he was expanding his professional horizons and stockpiling compositions. In many ways, he shaped the Get Back sessions by walking out and resetting the parameters under which the group would perform live, plus he brought Billy into the fold. His relationship with Dylan, developed when he was in New York, was a critical moment in his career and his own window into how other artists could interact, and reflecting everything that was wrong with the Beatles. While he was still not quite yet afforded the same global respect given to Paul and John, the Beatles’ junior member’s time would come in 1969, thanks in large part to something.

Sorry, I missed the punctuation. That’s thanks in part to “Something.” 

There are lots of dumb ways to spend a birthday in your 20s, but recording a few demos at EMI Studios on Abbey Road isn’t one of them.  February 25, 1969, saw George cut solo acoustic versions of “Old Brown Shoe” (first debuted during the Get Back sessions) and “All Things Must Pass” (from 1968, and rehearsed extensively in January 1969). The final song he worked on that day was “Something”, the seeds of which were planted in 1969, but he hadn’t completed as late as the final days leading to the rooftop concert on January 30, 1969.

You can find takes of all three songs on Anthology 3.

The commercial and critical success of the Abbey Road release of “Something” (finally, his first A-side) — earning high praise, finally, from Lennon and McCartney — plus the LP’s “Here Comes the Sun,” changed how George Harrison, Songwriter, was viewed. The time and efforts he spent between his birthdays in 1968 and 1969 propelled him to that point.

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Jan. 8: All through the day

It all came together thanks to television, LSD, a dance and a dare.

George Harrison started the fifth day of the Beatles’ sessions at Twickenham, January 8, 1969, with the dare, challenging director Michael Lindsay-Hogg with a new song in hand.

“‘I Me Mine’ it’s called,” George says to the crinkling of paper being unfolded. “Should I sing it to you? I don’t care if you don’t want it, I don’t give a shit about it. I don’t give a fuck [if it’s] going in your musical. [laughter]

“It’s a heavy waltz.”

An edited version of this moment — the origin story of what would become one of George’s two contributions to the Let It Be LP — along with a performance of the song, appears in the film of the same name in a three-minute sequence that closed out the Twickenham portion of the movie. On the Nagra tapes, the band is introduced to the song and would later work through and rehearse it roughly five separate times in the five hours of the day’s tapes, covering about an hour total.

The first 45 seconds of the song are familiar: It’s George accompanying himself on guitar to the first two verses of the song, and those lyrics are the same as would eventually be released. But to this point, there is no chorus, instead a brief flamenco-inspired guitar part bridges the verses.

After this initial debut, George interrupted himself to again gush about John’s 1969 diary — “Got up. Went to work. Came home. Watched telly. Went to bed.” — providing himself a segue to his prior night’s entertainment. Once more, it was the Beatles talking about and drawing inspiration from television.

“It was the TV, you see.” George said, recounting he was watching “that science fiction thing, but then it suddenly turned into that crap about medals and things.” That crap was an episode of the weekly program Europa, “The Titled and the Unentitled.” Per the original TV listing, the show “looks at the aspects of pomp and circumstance through European eyes-with a special report from French Television on the investiture this summer of the Prince of Wales.”

George Harrison, MBE, may have found the subject matter “crap,” but in his role as musical prospector, he found value amidst the precious medals being discussed. Specifically some incidental music during the program — Johann Strauss’ “Kaiser Walzer” — sparked George at some point between 9:55 and 10:25 p.m. GMT the night of January 7.

(George would have seen a different performance. This one is from 2008.)

“That’s what gave me the idea. Suddenly, it was the bit where they were all coming in from the ball. I think it was Austria, and they all had their medals. And there was some music that was just playing … like a 3/4 thing. Some things like that happen where you just hear something, and it registers in your head as something else. And so I just had that in there, the waltz thing.

“It’s like one of those things where they’re all swaying.”

Years later, in his pseudo autobiography that took the name of this very song, George addresses the origins of the lyrics.

I Me Mine is the ‘ego’ problem. …

I suppose having LSD was like somebody catapulting me out into space. The LSD experience was the biggest experience that I’d had up until that time. … [A]fter one dose of acid I felt I was stuck in this thing, which later I realised is called ‘relativity’. So, the big ‘I’ I’m talking about is the absolute, whereas we’re in the relative where everything is good-bad, yes-no, up-down, black-white. That’s why they called it the heaven and hell drug! But life is heaven and hell, we see it as, or make it into hell or heaven: there’s no heaven and hell beyond relativity.

So suddenly, I looked around and everything I could see was relative to my ego — you know, like ‘that’s my piece of paper’ and ‘that’s my flannel, or ‘give it to me or I am’. It drove me crackers; I hated everything about my ego — it was a flash of everything false and impermanent which I disliked. But later, I learned from it: to realise that there is somebody else in here apart from old blabbermouth …

Anyway that’s what came out of it: I Me Mine. The truth within us has to be realised: when you realise that everything else that you see and do and touch and smell isn’t real, then you may know what reality is and can answer the question ‘who am I’?.

After an extensive return to discussion of the “science fiction” — the series “Out of the Unknown” and the episode “Immortality Inc.” as excitedly shared in rich detail by George and Ringo — George presents the new song to Paul, who had just arrived at Twickenham.

“Is that grammatical? Flowing more freely than wine? Flowing much freer?” George asks. “If there were such a word as ‘freer’ is it ‘f-r-e-e-e-r?” George asks. “It’s ‘f-r-e-r’” Michael concludes before Paul chips in, “It’s like ‘queer.’”

It would be more than two hours until the group returned to “I Me Mine” — what they did in the interim will, of course, be the subject of subsequent posts. Once they did return to the song, George addressed John, who wasn’t yet at the studio when the song was first introduced. “Would you like to learn a new one?” George asks. “Very simple,” George assures him.

After John clowns around through a couple abbreviated spins through the song, he mockingly suggests he play the barrel organ, while George had more seriously considered adding an acoustic bass. “Want the accordion?” Paul asks George, who’s open to that sincere suggestion. “If it’s not here, then just fuck it.” Alas, Paul’s accordion — he did have one, you know — wasn’t at Twickenham. What John would really like is an electric piano setup, but that too isn’t yet available. One thing they do have is some working effects, and an upbeat John has plenty of fun with the echo.

“Are you going to teach us this?” John asks, and George supplies the band, at last, with chords to “I Me Mine.” Soon enough, however, John doesn’t play at all. Instead, as Strauss intended, he and Yoko waltz on the soundstage as George, Paul and Ringo provide the soundtrack.

imemine

George loves the antics, and doesn’t need the extra musical accompaniment John would offer anyway.

“Do you want to do that on the show?” George asks John. “That’d be great, ‘cause it’s so simple to do, the tune. But to do that waltz, or something, if you want to bag it up a bit.” Laughing, Paul offers a mock show introduction to the song: “John and Yoko would like to waltz in their white bag, And there’s a white bag waltzing around. They were doing things inside it.

“We should do it like an escapoligists thing. You can see they’re not tied at all. There’s nothing up their sleeves. And we put the bag over them.”

Excitedly, George thinks about playing up the character of the song itself, too. “Castanets on that bit,” he suggests for the flamenco part. Through the entirety of the song’s development and rehearsal, the Beatles are animated, embracing the fun of a song outside their normal sound, and thinking visually for the show. Excepting some of Paul’s offbeat ideas for “Maxwell’s Silver Hammer,” it’s one of the rare times on the tapes the band actively discusses a performance of a song and explicitly how it could be staged.

“Are you sure that’s grammatic?” George asks once more. “Flowing more freely?” Michael assures him it’s fine.

As rehearsals continue and the group works out the transition from the verses into the flamenco bit, Paul finds a bit of inspiration, recalling “Domino,” a hit for Tony Martin nearly two decades earlier, and covered by the likes of Doris Day, Bing Crosby and Andy Williams (whose cover Paul seems to evoke most) in the years since.

While the group worked out the newest Harrisong, the conversation twisted to George’s very first composition, “Don’t Bother Me,” which surfaced on With The Beatles in 1963.

You know I was in bed, at Bourenmouth, we were on a summer season. And the doctor gave me some tonic, which must have had amphetamine or something in it. And the rest of you all just drank it to get high. And that’s when I wrote that one.

John and Yoko apparently continued to dance with enough frequency that Paul called them out on it. “You’ll spoil the spontaneity of the dance when you actually have to do it,” he said. Paul, along with George, offered dance instructions to the pair as the song sharpened quickly. Soon enough the production gained Lindsay-Hogg’s attention, as he must have missed several of the rehearsals as the day progressed.

“That’s great,” MLH says, apparently seeing the dance for the first time and being told it was for the show. “Its beautiful. The whole thing should be very Brechtian. … [The show] should be called ‘January 20, 1969,’ and that every song has a character. Like that’s the character of that one.” The conversation continues about the “very theatrical” live show. But that’s a story for another blog post.

imemine-clip

The Threetles rehearse “I Me Mine.” From the Let It Be film.

Returning to the song, Paul plays the role of fixer again, like he did with “Don’t Let Me Down” days before, as George troubleshoots the transition from the verses into the flamenco break. “That sounds like it would be a good rock bit, it gets out of the idea of the waltz.” The next take on tape (there’s a cut but it doesn’t sounds as if much time had passed) has Paul and George hashing out a chorus that starts as “my my my” to a 12-bar blues progression.

“Just do it like a beep-beep harmony,” Paul says before singing “my my my” in a high register, as he sang “beep beep, beep beep, yeah!” in “Drive My Car” less than four years earlier. This chorus then fell into the flamenco break.

We’re left with another tape cut, but here it is clear a little bit of time has elapsed. The 12-bar progression remains, but now “my my, me me, mine” is sung over it. In a few minutes that would evolve into the “I I, me me, mine” that was later immortalized on wax, but not first without a little bit of push and pull between Paul and George.

Paul: “My my” is good to sing. It’s like “mm-mah, mm-mah.”

“I, I” is not … as easy to do. … It’s like “nn-night” is easy to sing. “Rr-right.” The “mm-mah” is easy … It’s like “my, my, my” is easy to shout.”

While he says Paul can sing what he wants, George’s mind is made up and he continues to sing “I I, me me, mine.” It stuck, and Paul subsequently sang George’s suggestion for the day’s final few attempts (and, of course, on the eventual release).

The final stab at the song for the day, a complete take, is what appeared in the film. For the final hour on the tapes, the band moved onto “The Long and Winding Road” and “Let It Be” before wrapping the day with a lengthy discussion about the live show.

By way of comparison of other songs the group had been working on these first few days, the writing/rehearsal sessions for “I Me Mine” were painless. The development and improvement of the song was linear, resulting in a final run through that may not have been release-ready — nothing at Twickenham was nor was intended to be — but was a sharp, concise (clocking in at under two minutes), complete song that was a reasonable contender for the live show. At that point, with the performance looming in 11 days, that’s all they needed. “Bits” were generally worked out, and there was even a visual to add to the live production.

And about that visual: John and Yoko’s dance. It’s entirely feasible and reasonable to say their waltz, however cheeky and contrived it was, is the reason “I Me Mine” exists at all, at least in the Beatles’ catalog. To explain, we must look beyond January 8, 1969. Well past.

The Beatles didn’t attempt “I Me Mine” during the balance of the January 1969 sessions. This was it; the song’s introduction and development on January 8 marked the entirety of the Beatles’ work on the song during the Get Back sessions. George demoed three songs seven weeks later on his birthday, but “I Me Mine” wasn’t among them (instead, he recorded “Something,” “All Things Must Pass” and “Old Brown Shoe,” versions of which appeared on Anthology 3). If the Beatles ever considered “I Me Mine” for Abbey Road, evidence is lacking.

The song’s sound and words were born of TV and LSD. But the reason “I Me Mine” exists at all as a song by the Beatles is because of the dance.

rockband

You can play “I Me Mine” on the Savile Row rooftop in Rock Band: Beatles, but George himself never played the song live on either his 1974 or 1991 tours.

When John and Yoko waltzed to “I Me Mine,” the underdeveloped show idea finally had a specific visual Michael Lindsay-Hogg could attach to a song. Yet, in less than two days’ time, George quit the group, and upon his return, he made clear he didn’t want to perform any of his songs live (although he did bring several more new songs to the studio to work on). But for the purposes of the Let It Be film, the job was done. The waltz ensured a place for “I Me Mine” in the movie, and thus, required the song a place on the soundtrack. Thing is, there was never a proper recording done of the song at Twickenham, and there wasn’t suitable recording equipment there anyway. In every prior iteration of a potential Get Back/Let It Be album, as compiled by Glyn Johns, “I Me Mine” was left off, since it hadn’t otherwise been a consideration for the LP. The movie changed that.

Once the song was earmarked for the film and thus the album, the Threetles made their debut. On January 3 and 4, 1970 — almost a year to the day after George wrote the song and brought it to Twickenham — George, Paul and Ringo spent one last session together at Abbey Road, recording “I Me Mine.” John was on holiday in Denmark, but that almost didn’t matter: He had already privately quit the band more than two months earlier. As George remarked, “Dave Dee is no longer with us” as they went ahead, for one last time, to “carry on the good work that’s always gone down in [Studio] No. 2.”

Phil Spector took the recording, embellished it, doubled its length and tacked it onto Let It Be as the Beatles formally expired as a group. Like John’s “Across the Universe,” the song it follows on Let It Be and precedes on Let It Be … Naked, “I Me Mine” in its final form is not a product of 1969. It’s worth noting, too, that George turned around “I Me Mine” in a relatively complete form in less than 24 hours. John dragged out a nearly year-old “Across The Universe” and still couldn’t make it workable for the show.

The same three men who laid down “I Me Mine”  — George, Paul and Ringo — returned to the studio together 24 years later to record John’s “Free as a Bird.” Paul convinced himself it was OK to record a new Beatles song without John.

“I invented a little scenario,” Paul said of recording the group’s first song since “I Me Mine.”

“[John’s] gone away on holiday.”

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