Beatles documentary “Get Back”

meltonblue said:
In the earlier days he was and you do still see them working together and ultimately, as Paul says in the film, they still considered John as the leader. Musically though, Paul’s influence was more dominant from Sgt Peppers onward.
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I don't think it helped that John was on heroin by that point too.
 
BLUEYESTU said:
I don't think it helped that John was on heroin by that point too.
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No, I don’t think the Beatles by that point were as important to him as they were to Paul.

The bit in the film, where George had left and John was coming in late, when Paul was speaking about Yoko and people joking in fifty years about the Beatles splitting up because she sat on an amp, and then saying “and then there was two” with his eyes welling up really got to me. Even more so given they’re the two still around now.
 
Psychedelic Casual said:
They weren't half a strange bunch of fellas. Strange humour (maybe it was of-the-time, or in-jokes?).

Paul seems the most dedicated and imaginative, feels like John isn’t coming up with anything fresh at the time (Paul “have you got any other new songs, have you been coming up with any new ideas for any” John “no that’s it”… Paul’s face was saying “oh, all on me then is it?”) and is only there to turn up late and have a laugh.

I think it’s clear that Paul and John didn’t take George seriously enough (All Things Must Pass went on to show they were wrong to do so!), he seems detached from the rest. I think they all seem a bit tired of each other at times, at others like they’re all going in different directions.

We saw very little of Epstein (maybe he’d taken a backseat at this stage?).

And what’s the fucking point of Yoko just sitting there, all…the…time, like a pet who can’t be left alone or a fucking cardboard cut-out John keeps bringing along with him? And what’s with all that wailing and shouting and chanting she does (with the band all playing along)… what a fucking weirdo she was and they were to have her along!

But when they pick up their instruments the class is there to see. The way songs just break out of them.
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Yoko made me cringe so much I nearly got a hernia. Who the fuck does she think she is sat there next to John staring at him and stroking him while they all sit round jamming or recording? She must literally have no self awareness whatsoever. It's embarrassing. They all seem to take it well when they discuss it and say "It's up to him" but if I was one of the others I'd have been saying "John, can you please ask her to sit in the control room".

They can't even fart without her smelling it.
 
Onholiday(somemightsay) said:
Even though I'm not a huge admirer of the song, I liked seeing McCartney's brain tick during the early creation of Get Back.

I am ever so slightly dubious that McCartney is coming out of this documentary so well (bit like MOTD highlights, is it a true representation of the full 80 hours of footage or is it a slant that suits Peter Jackson's portrayal)?

Maybe I am being too cynical (and I'm still only about an hour in)............
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If you want to see the other side, as this absolutely is focussed more on the positive aspects, just watch the original let it be doc.
 
Didsbury Dave said:
Yoko made me cringe so much I nearly got a hernia. Who the fuck does she think she is sat there next to John staring at him and stroking him while they all sit round jamming or recording? She must literally have no self awareness whatsoever. It's embarrassing. They all seem to take it well when they discuss it and say "It's up to him" but if I was one of the others I'd have been saying "John, can you please ask her to sit in the control room".

They can't even fart without her smelling it.
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She still sees herself as the protectress of his legacy. Interesting to hear Julian's take on her. He remains as polite as he can, but you can see what he thinks. (It's heartwarming that he now gets on so well with Sean, and understandable that he remains diplomatic about his mother).
But John was himself a very complex character. I recommend the Philip Norman biography. It's a long read, but fully worth it. Strong personality that he was, he had a very needy side to him. That all came out when he met Yoko. In truth, he was all over her like a puppy dog.
 
BLUEYESTU said:
Unfortunately not that I can see. It looks like it wont be released on dvd/blu-ray either.
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Fuck! Disney and everything to do with that corporation is anathema to me. I refuse to finance them in any way.
Ah well, looks as though I'm going to have to ask a friend to ask a friend to ask a friend about a site that they know of…
 
Lovebitesandeveryfing said:
She still sees herself as the protectress of his legacy. Interesting to hear Julian's take on her. He remains as polite as he can, but you can see what he thinks. (It's heartwarming that he now gets on so well with Sean, and understandable that he remains diplomatic about his mother).
But John was himself a very complex character. I recommend the Philip Norman biography. It's a long read, but fully worth it. Strong personality that he was, he had a very needy side to him. That all came out when he met Yoko. In truth, he was all over her like a puppy dog.
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A similar thought did cross my mind last night watching a bit of it that potentially she was there as a comfort or support to him.

Let's face it, aside from that being true you would have politely asked her to bugger off..........
 
hilts said:
Over how many years is irrelevant really it’s the volume that makes the legacy. In a hundred years no one will care if a song was made in 65 or 95.
Lennon and McCartney however pissed on everyone else and not by a little either. The chasm is unrepeatable. You could argue about the lot way below them all day though.
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I agree - the quality, quantity and variety of their song-writing marks them out as one of the greatest composers of the 20th Century. Whilst other bands like The Rolling Stones and Beach Boys were absolutely brilliant, they just don't come close. Imagine being able to write She Loves You, Please Please Me and All My Loving as great pop songs, then doing acoustic numbers like Yesterday, She's Leaving Home and Eleanor Rigby, psychedelic classics like Tomorrow Never Knows, Strawberry Fields, Lucy In The Sky and A Day In the Life, love songs like Here, There & Everywhere, Long And Winding Road and And I Love her, album tracks like Because, The Abbey Road medley, Got To Get You Into My Life as well as great pop songs like Hey Jude, Let It Be and Get Back. Imagine releasing a double-a-side of Strawberry Fields and Penny Lane because you could! Just astonishing. Leaving aside the quality of the songs, the variety amazes me in itself, who else comes close to being able to do it?

Obviously, I'm a big Beatles fan, but when you look at their albums, it's amazing how many albums songs are widely known. I honestly don't think we will ever see their like for a long time. Not only that, but the speed they were writing albums and how quickly they moved on is still astonishing 60 years later.

After the Beatles, both Lennon and McCartney did some great songs. The problem they had is that they will always be judged against the songs they did with The Beatles.

Lennon did some great songs in the 70s - Instant Karma, Love, War is Over, Woman, Give Peace a Chance, Working Class Hero, Jealous Guy, Watching The Wheels etc. All brilliant songs. McCartney did too with Band On The Run, Suffragette, Live and Let Die, Coming Out, Another Day, Silly Love Songs, My Love etc. Again, anyone else in the 70s would love to have written these songs.

As The Beatles, they were - and will remain - the greatest composers of popular music for the foreseeable future.
 
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