Monday, September 27, 2021

October 13, 2021 - Completed and Tweeted Rolls 41-A + 65-B==> 

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Sunday, November 12, 2017

Act Three Scene Three Rolls 46-A + 68-B

Ivan Lenin is back in the CCCP.

Despite the very long day, the band presses on for several more takes of ‘Two of Us’, before switching over to George’s ‘All Things Must Pass’.
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Act Three Scene Three Rolls 45-A + 68-B

Two of us sending postcards, writing letters, on my wall.
The Beatles move on from disagreement, and into John's 'vamping' idea. This results in a tasty and unique rendering of ‘Two of Us’, where everyone shines.
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Saturday, October 14, 2017

Act Three Scene Three Rolls 44-A + 67-B

Not guilty. For getting in your way, while you're trying to steal the day.

George continues to improvise, which results in a powerfully driven version of Paul’sTwo Of Us’.  However, without warning the atmosphere turns sour. This leads to the much-discussed ‘row’ between George and Paul. We will conduct a fresh examination into the forces and personalities that shaped this conflict. The causes are far more nuanced than portrayed in the cinema release of the film ‘Let It Be’.
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Act Three Scene Three Rolls 43-A

Which 'two of us" is the song, 'Two of Us' actually referring to?

Sounding pleased with George’s discovery of the 'Don't Let Me Down' catchy hook, the Beatles play John's song a final two times to hear where it currently stands. Since Paul's middle eight idea was scuppered, the bridge remains the part of the song that most needs continuing attention.

At last, it is time to move on to the next song: Paul's 'Two of Us'. Fasten your safety belts, as it is going to be a memorably bumpy ride.
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Act Three Scene Three Rolls 42-A + 66-B

Introducing those Merry Madcaps of Eternal Darkness: The Strolling Moans

Rehearsals for Don't Let Me Down are heading towards a conclusion, which George indirectly triggers. 

Despite having tried a handful of variations based on Paul’sI’m in love for the first time counter-vocal idea, the Beatles continue searching for the elusive something that makes Paul's idea work.  Now they expand their musical search parameters, resulting in several unique versions of Don’t Let Me Down.

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Friday, October 13, 2017

Act Three Scene Three Rolls 41-A + 65-B

Mad Butcher Boy Strikes Again, at Twickenham
This is a very interesting moment in the Don’t Let Me Down rehearsals. The Beatles begin to rehearse pieces of the song using increasingly unique and one-time arrangements. Some are beautiful; some are very funny, while others are strange. Then Beatle lightening strikes George, when he uncovers the song's missing hook.
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Act Three Scene Three Rolls 40-A + 64-B + 65-B

Well on the way, head in a cloud. The man of a thousand voices talking perfectly loud.

The Beatles continue to work on the weakest link of Don’t Let Me Down.   
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Act Three Scene Three Rolls 39-A + 64-B

Words are flowing out like endless rain into a paper cup

The Beatles spent the entire morning and the better part of the afternoon ‘warming up’.  Nevertheless, so far it had been a musically fascinating day.  Let us review:
  • Paul is the first to arrive.  He plays a solo version of ‘Oh Darling’ and discusses the origins of ‘One After 909, the ‘Sgt Pepper’ audience laugh, and amps best suited for recording.
  • Ringo joins him, and the conversation touches on the loud volume of screaming at the Beatles live shows and whether one might be able to kill another with a sudden loud sound.
  • John and Yoko arrive and the conversation turns to the live show venue. 
  • George arrives and announces that he wrote a new ‘gospel song’ the night before.  He also jokes in an ambiguous manner, “I think we should forget the whole idea of the show.” 
  • George begins his ‘Monday Mornings with George’ show playing ‘I’ve Got a Feeling’, his new gospel song ‘Hear Me Lord’, and a sketchy of ‘For You Blue’.
  • The band goes to their stations (Paul is on organ). Paul creates new lyrics (about soundproof walls ringing in his ears) for the chords of ‘For You Blue’. He rolls out a new song, ‘Carry That Weight’. 
  • They play two wonderful improvizations, followed by a green Kryptonite laced version of “Across the Universe’, and an absurdest version of Dylan’sI Want You’. 
  • Paul moves over to bass for the three-part improvization ‘You Wear Your Women (You Wear Your Women Out)’.
  • They play a raunchy version of ‘I’ve Got a Feeling’.
  • They perform their three crown jewel improvizations: 'My Imagination', ‘Arabian Night Journey’, and ‘I Said (I’m Going to Pay for his Ride)
  • They play two strange (in a good way) versions of ‘Don’t Let Me Down
  • They play several versions of ‘One After 909
  • Arthur Crudap / Elvis’s ‘My Baby Left Me (That’s alright Mama)’  receives a performance
  • George repeats ‘Hear Me Lord’ and John jumps in, confidently exploring the tune.
  • They discuss various aspects of ‘the ‘live show’.
  • They begin a trip down memory lane with strange detours into fantasy.  It starts with George Formby’sLeaning on a Lamp-post’. With Ringo temporarily absent from the sound-stage (along with much of the technical staff), the others indulge in couple of comical songs dedicated to Ringo.
  • The band performs Chuck Berry’sI’m Talking About You’.
  • There is a long conversation concerning the staging of the ‘live show’.
  •            The Threetles perform ‘John’s Theme’, followed by ‘Dizzy Miss Lizzy’ and ‘Money’.
  • Ringo returns and the band deliver wonderful performances of three oldies that go back to the early days of the Beatles:  ‘Fools Like Me’, ‘Sure to Fall’, and lastly ‘Right String Wrong Yo-Yo’.
With the return of Ringo, the band is ready at last to begin rehearsing new songs for the ‘live show’.  First up: John’s ‘Don’t Let Me Down’.
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Act Three Scene Two Roll 38-A + 64-B

While Richie is away, Sir Paul will play

Ringo is still missing from the set, but is soon to arrive. Paul continues on drums and the remaining Beatles continue their three man show.  First song up: their 1965 Beatlemania era recording and North American tour song Dizzy Miss Lizzy

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Thursday, October 12, 2017

Act Three Scene Two Roll 37-A + 63-B

Ringo is on a break, and has left the film set. The remaining Beatles entertain themselves playing an assortment of oldies and a couple of improvised comedic songs, which they humorously dedicate to Ringo
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Act Three Scene Two Roll 36-A

Remember: Go to the Blue light, and not to the white

The Beatle break continues. George takes advantage of the moment by casually playing the new song that he introduced earlier in the morning: 'Hear Me Lord (003)'. John returns to his guitar, and adds some bluesy fills to George's new song.

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