Beatles' Let It Be (33 1/3) by Steve Matteo Read Free Book Online

the lyrics of the song for the first time, including references to Arizona, California, and “drag,” as in drag queen. The third version brought controversial meaning to the lyrics that ultimately proved of no importance to the finished song. On it, McCartney sang about Puerto Ricans, Pakistanis, and the topic of discrimination, which would become fully illuminated later in the day. That version had a loose, almost psychedelic or funk feel to it. The fifth and final version made lyrical references to Joe (pre-figuring Jo-jo) and Theresa (later to be changed to Loretta).
    Returning from the weekend on January 6, the Beatles were not as ambitious as they had been the previous Friday. After trying out “Carry That Weight” and “Octopus’s Garden,” they went back to tackling some oldies. This time, though, they returned to some of the cover songs they had recorded on their early albums, including “Dizzy Miss Lizzie” and “Money.” They also did a Jerry Lee Lewis song, one from the Miracles, and two from Carl Perkins. They played another English music classic, “Leaning On A Lamppost,” as well as yet another Dylan song, this time “Maureen,” apparently a song Dylan wrote for and about Ringo’s wife Maureen. The group then went back to workingon its newer material, including many versions of “Don’t Let Me Down” and “Two of Us.” Both “Hear Me Lord,” another song destined for George’s future solo work, and “All Things Must Pass” were performed just before another that would be on
Abbey Road,
“She Came In Through The Bathroom Window.”
    The day also included the first time during the project that John’s “Across the Universe” was resurrected. However, John was only able to do a false start of it and another longer fragment, this time on organ. The song’s origin dates back to February of 1968. It was originally slated to appear on a British EP of “Yellow Submarine,” which was never released. John was obviously influenced to write it by his time in India: the song’s hypnotic chorus, “Jai Guru De Va Om,” means “victory to the guru God.”
    The following day was much more productive. Paul’s songs dominated the early part of the day, as he was usually the first to arrive. “The Long and Winding Road,” which Paul began writing and actually recorded a demo of during the
White Album
sessions, debuted now. It was followed by “Golden Slumbers/Carry That Weight.” Paul then went back to a song that was not very old but that fit in with the group’s more pop side, “Lady Madonna.”
    Listening to that early-morning warm-up gives one a keen insight into the evolution of “The Long andWinding Road.” The result of Paul’s bringing the lyrics through to their final form and playing the song’s melody with just the piano is quite beautiful. It’s interesting to listen to him seemingly abandon the song for the day to work on “Golden Slumbers” and “Carry That Weight” and then return to it. The sad beauty of the basic melody is very touching and it helps one to understand why Paul was so perturbed when Phil Spector made the song into a big production in 1970. The song was clearly influenced by Paul’s time in Scotland. The road in question was no doubt the B842, a sixteen-mile road that snaked along the coast in dramatic twists and turns and connected Paul’s house to Cambeltown. The song is yet another example of the Beatles’ remarkable talent for turning something familiar and personal into a song to be enjoyed by millions.
    Alistair Taylor, who worked for Brian Epstein at NEMS and became the manager of the Apple office, and who was referred to as “Mr. Fixit” because of his ability to get things done, remembered the beginnings of “The Long and Winding Road”:
    Late one Friday night we were all packing up at Abbey Road and I was looking for Paul to say goodnight. I eventually found him in Studio One picking out a melody and adding some lyrics. “That was