George/Paul dust-up during the Get Back sessions

Discussion in 'Music Corner' started by Joel1963, Jul 10, 2018.

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  1. O Don Piano

    O Don Piano Senior Member

    Which is why I said "arranging". That's what I was referring to. By 1969, Paul wrote Paul's songs, John wrote John's songs, and so forth.
    I'm talking about musical contributions.
     
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  2. buzzzx

    buzzzx Forum Resident

    Location:
    Cal.
    Ever since the first time I heard it I thought it was Yoko mixed with John's guitar. I thought it was common knowledge!
     
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  3. Edgard Varese

    Edgard Varese Royale with Cheese

    Location:
    Te Wai Pounamu
    Paul told George not to play the "call and response " lick that George was trying out for "Hey Jude "... and Paul was right! :D
     
  4. The Beave

    The Beave My Wife Is My Life! And don’t I forget it!

    This i can accept!
    Great observation!
    Beave
     
  5. Paulwalrus

    Paulwalrus Forum Resident

    Location:
    Chile
    I guess Paul could have let George play, and then say "let's try one without that call and response now, shall we?". And then just kept that version for the record.

    Plus we'd have an interesting out take.
     
  6. Paulwalrus

    Paulwalrus Forum Resident

    Location:
    Chile
    They should have realized they needed a break!

    This theory (...)

    (...) and this theory, would make interesting Beatles threads on their own.

    I say go ahead.
    :)
     
  7. One_L

    One_L Forum Resident

    Location:
    Lower Left Coast
     
  8. Dylancat

    Dylancat Forum Resident

    Location:
    Cincinnati, OH
    As did George.
     
  9. peteham

    peteham Senior Member

    Location:
    Simcoe County
    That’s preposterous. Such misinformation. As if Paul is going to snap at Scotty and D.J. on an Elvis tribute session, filmed, with Ahmet Ertegun at the board.
     
  10. craymcla

    craymcla Forum Resident

    Location:
    Nashville, TN, USA
    Well the title of this thread is "George/Paul dust-up during the Get Back sessions", and Paul instructing somebody on how to play "I've Got a Feeling" is often used as an example of the tension with George, so I'd say this thread is a pretty good place to address it. :)

    Personally, I don't think it's just a theory when all you have to do is watch the video so see that he's talking to John, not George.
     
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  11. PRW94

    PRW94 Forum Resident

    Location:
    The Southeast
    OK, here is the video I was talking about. It's from the PBS documentary about Sun Records where Paul cut That's Alright Mama with Scottie and D.J. The part in question starts about 1:29. And I probably overstated it just a smidge about him "snapping" at them ... it's been years since I saw this broadcast ... but they had screwed up the intro twice and if you listen to Paul's tone of voice, I think he was deadly serious that he didn't think they were being serious and he wanted them to be serious. I don't think Paul was joking, he wanted them to get with the program. It's pretty hard to spin "This is work, guys" any other way. I imagine John, George and Ringo heard that tone of voice a few times.


     
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  12. paul62

    paul62 Forum Resident

    Location:
    Down to Earth
    This is just a theory of mine, but I have a feeling that Paul’s solo during the coda of “Maybe I’m Amazed” may have been similar to what he originally had in mind for the solo in “Let It Be” (or it may have been influenced consciously or subconsciously by George’s solo on the “LIB” single).
     
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  13. Lord Hawthorne

    Lord Hawthorne Currently Untitled

    Location:
    Portland, Oregon
    No kidding. If you've ever been in a band, this discussion happened sometime.
     
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  14. stax o' wax

    stax o' wax Forum Resident

    Location:
    The West
    If I was Paul I would have calmly asked George if I could see his guitar for a second... then I would have smashed it into a few dozen pieces and screamed "your F***ing right you'll play what I want you to play you half ass excuse for a Moonie."
    Then I would have turned to the camera and said "there's a clip for your pos film!"
     
  15. Neil Anderson

    Neil Anderson Forum Resident

    Location:
    Portland, Oregon
    and yoko would have signed off on the dvd release based on that scene alone....
     
  16. Veech

    Veech Space In Sounds

    Location:
    Los Angeles, CA
    You guys are hilarious.
     
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  17. I guess he couldn't digest any of it.
     
  18. ohnothimagen

    ohnothimagen "Live music is better!"

    Location:
    Canada
    Which of course begs the question: why didn't John, George and Ringo just say no when Paul suggested the project in the first place?
    Never been officially confirmed, and probably never will be, either.
    True, and they all had moments where they could dish it out but couldn't take it.
    Yeah, and sometimes it can be done in a civil manner...rarely, but it does happen:laugh:
    Very true. As all four of them said it got to a point where it was impossible to communicate freely, to say what was really on their minds...nowhere is that more apparent than during the Let It Be sessions.
    And yet during that period The Band is exactly who George wanted The Beatles to emulate. Musically they kind of succeed...
    Paul was right, but the dismissive manner with which he rejected George's idea rankled Harrison for years afterward. "Hey Jude" was a big thorn in George's side after that.
     
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  19. Rfreeman

    Rfreeman Senior Member

    Location:
    Lawrenceville, NJ
    In the end, there was no love lost at all between the main songwriter in The Band and the group that helped arrange his songs. Helm resented Robertson for decades at least as intensely as George resented Paul, from what he had to say. And frankly had George had more of room to influence Lennon-McCartney arrangements, it might well have led him to start resenting his exclusion from Lennon-McCartney composition credits. That was the biggest reason for Helm's beef with Robertson.

    If people are gonna resent the limitations of whatever role they are in, they will find someone to channel that resentment towards, even if it is someone who is largely responsible for getting you to this much envied position where people are going to even care about who you resent.

    Oh woe is me. I am stuck being the third most acclaimed member of the most successful act ever. Pity party in aisle G.
     
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  20. rgutter

    rgutter Forum Resident

    Hmmm. Definitely time for me to re-evaluate Noel Redding's contributions to "Voodoo Child (Slight Return)".
     
  21. idreamofpikas

    idreamofpikas Forum Resident

    Location:
    england
    They had to be, John's leadership was when they were all hugely ambitious, all driven for success. Also helped that he had Brian and George M to be the actual authority figures, allowing him to remain part of the gang and have the them nag and tell them off.

    Paul's leadership was over a band who made it, who were superstars with little real drive, no more Everest's to conquer. There was no longer a Brian to tell them off and they no longer viewed Martin's roll in their music as important as they once did so the nagging and arranging was left to Paul.
     
  22. MHP

    MHP Lover of Rock ‘n Roll

    Location:
    DK
    Think about it: You guys are discussing a short breif moment of a short harmless argument that happend to be captured on film and use it as a projection tool to make psychoanalysis on 4 musicians you obviously only know from public apperances. Like that little clip was the whole center of the universe. Is it that hard to take a step back and look at how foolish things can turn out? How would you like it if a piece of home movie where you are irritated at the wife, 50 years later is used as a foundation for pure psycho-babble and interpreting of your carrer and behaviour? Far out, indeed.
     
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  23. JFSebastion

    JFSebastion Forum Resident

    Location:
    Maricopa Arizona
    I agree that George didn't help himself by going off into World Music, but really wasn't encouraged much in the band, he and Ringo. Ringo has made more than one quip about how John and Paul could be. I don't agree with George's skills on guitar trailing off too much. It did during Pepper and MMT, but when the White Album commenced George threw himself back into the meat grinder. Much good work on that double album and by Abbey Road he could hold his own with Paul. George saw in John that John had lost his desire to be in the band and I think he tried to step in to help Paul as well as himself those last two years. Most people dwell on the Paul and George feud but the fight with John was much more serious. The John and George dynamic's was a bit trickier to pin down. The early days, John couldn't be bothered with George, he appeared so young. Then during the LSD period and the longer stay with the Maharishi bonded them. Age no longer mattered. But then things changed again as things often do. John spiraled into heroin and George buoyed by his religious faith backed away from most drugs. By Let It Be George was hanging out with Dylan and the Band, finding out he was accepted by others for what he could bring to the music, but within the Beatles he was up against the same old Paul and a completely disinterested John. It was said by all the other Beatles that John took to letting Yoko answer all his questions when they would arise. George had learned how to deal with Paul, the apathy John displayed towards the Beatles as well as Georges music. That was something he had trouble accepting. The whispers were that John and George actually came to blows. Paul it was said tried to play that down to the press as if it was nothing. John himself alluded to the fight once but I haven't been able to find it in print anywhere. Of course we know things were patched up and Let It Be was finished. By Abbey Road, George accepted whomever worked on his music, but mostly it was Paul and Ringo. John contributed to "Something" but his work was recorded over by George. After the Ringo album in 73 , George had little to say to John. Even though Paul and George were said to feud much more, they were the ones most likely to do take after take of a song to find perfection, Even when none could be found. Obla-De, Obla-Da and Not Guilty each over 100 takes. John hated too many takes, felt that a song couldn't be forced. I've seen public pictures of George congratulating Paul after a concert and there has been much press that Paul and Linda in disguise, were in the crowd to see George's triumph, the Bangla-Desh concert. By 1995 when the surviving Beatles worked on John's songs, George was openly dismissive of John's solo work, saying it wasn't up to snuff. Some of it wasn't but the hurt feelings between John and George were never healed. If one looks at the solo careers, Paul and George had the better solo albums. John had some good moments, but I felt he was off his game after Walls and Bridges, and that album, POB and Imagine were his only good ones. IMHO.
     
  24. kozy814

    kozy814 Forum Resident

    I agree, Paul's piano part is exactly what is needed on this song. And his bass playing is stellar as usual. That's one thing about Paul, he would take the sessions seriously, and was ready to play his parts. But he did always put his tracks first, spending the most time on his songs even when the extra time was not warranted.
     
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  25. DTK

    DTK Forum Resident

    Location:
    Europe
    Partypooper there - every 5th thread created on this forum is psychobabble about the mop tops.
     
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