Paul, John and George with Billy J Kramer in Margate, July 1963. Photo by Leslie Bryce. Scan from Beatles Book Monthy No. 143.
January 25th, 1969 (Apple Studios, London): As the band starts to meander after several imperfect and increasingly unserious rehearsals of ‘Let It Be’ (including a stray comment from Paul that prompts John and George to break into Chuck Berry’s ‘I’m Talking About You’), Paul tries to steer them back to a serious run-through. John protests in jest and, perhaps reminded of the Beatles’ improvised Christmas records, starts thanking the fans for all of the gifts they’ve sent. The next rehearsal of ‘Let It Be’ is foiled again by Paul and Ringo, however, enabling John to get into a mock-tirade about not even reaching the part of the song where he comes in (to the amusement of the group).
PAUL: Come on now, come on now, come on now. Come on now – back to the drudgery.
JOHN: It’s you that’s making it like this, it’s you that’s bloody making it like—
PAUL: The real meaning of Christmas. [starts playing ‘Let It Be’]
JOHN: I’d especially like to thank you for all the birthday presents…
PAUL: There will be an answer, let it be… [falters; laughs] Then, is it—
JOHN: You shook me. [to Ringo] You stuck in another verse there, Richard.
PAUL: Yeah. You send me.
JOHN: He’s got another verse in there, now. You come in with the flugle.
RINGO: Alright, John!
PAUL: [laughs] You only have to pick your nose and a camera and a boom is over there…
JOHN: Okay, this is your last chance.
PAUL: Now look boys, now come on. Enthuse a little.
JOHN: [mock-outrage] I can’t, I don’t even get up to my bit, you keep finishing! [everyone laughs] Show up, will ya, or I’ll have you banned from bloody Apple if you don’t show up! [Paul laughs; John subdues himself] Okay, ‘Let It Be’ is where I come in… [laughter]
|—||Tom Zito (journalist), Washington Post: Peace, love, art and Yoko. (October 9th, 1971) c/o Kenneth Womack, The Cambridge Companion to The Beatles. (2009)|
John and Paul in-frame recording a vocal overdub during the Rubber Soul sessions, EMI Studios, London, photographer unknown. (October, 1965)
January 13th, 1969 (Twickenham Film Studios, London): In the middle of a personal discussion with John and Ringo about the band, its tenuous future, and their relationships with one another, Paul (in response to John’s admission of insecurity in the face of external pressures from the public and media to perform) is emphatic about his faith in them and their abilities and contends that whatever interpersonal problems they have can be resolved, for what their music is worth. (Note: I am sheepishly and frustratedly uncertain of my transcription. And yes, Yoko and Linda seem to be having a fascinating conversation about Paul and George.)
PAUL: [trying] If all of you were for sale on a shop, I’d want you as, you know, that, but I really don’t want you as that!
PAUL: But I want you as that! I don’t want him as that. You see, I want you to want yours. You’re [inaudible]. Ringo wanted— When I say those things, you know, I can hear myself sort of – but I don’t know what it is you want me to do! In period and in fact, I want you all for whatever you are, because I’m placing it – after all the bests, and all it bloody does, and what’s best, is that what you are is alright. Because if it isn’t, then it’s just stupid of me [inaudible], you know. Because if it’s what you are, and I would want us anywhere! So I’m placing all the money, all the fame, and everything, on what you are. So if this is what you two are, then get on with it.
This never fails to make me smile… :)
April/May, 1973: Paul talks to Nicky Horne about the improving relations amongst the four Beatles after Allen Klein’s legal departure, and his contact with John outside the (often misleading) public or peer-pressured forum.
PAUL: Now he’s gone out, the main obstacle to people working together has been removed, you know. It means now, let’s say, if we fancied working with each other… But it doesn’t mean necessarily that the Beatles are going to reform, you know, it might mean that I’ll play a concert in New York with John somewhere, George might roll in, Ringo might roll in, and you find that the Beatles are onstage, kind of thing. But at the moment, there’s no great plans to get back together. I know as much as you, really. But I say, you know, there’s no kind of anger in there anymore, so that’s a nice thing.
HORNE: But then how’s the animosity between John and yourself?
PAUL: There’s none of that. No, there’s none of that. I mean, see, you’ve got to remember [that] in our position, uh, what you do – all you have to do is – all that has to happen is John to write a snide-y song about me, or to do a snide-y article about me, and I’m expected to kind of jump down his throat, and whilst I was a bit cheesed off by it obviously, um, I tried not to, and we eventually kind of cooled off. And after a couple of months, we were chatting away on the phone and talking quite peacefully between each other and happily, you know. But I think just ‘cause we didn’t say to the press, “Oh, by the way, everyone, we are now talking” – ‘cause you don’t, you don’t announce who you’re talking to, and we still feel pretty human, so we don’t go announcing. If I phone John, I don’t ring up the BBC and say, “Uh, Scene and Heard? I’d like to do an interview. ‘I met John.’” I mean, it’s not like that.
But um, there was only a couple of months of real bitterness in there, and uh… that was due to a lot of things. We’d been played against each other and funny things like that. We’d been made to think that we’d— I mean, I know the others at one time thought I was trying to take over Apple, which was nothing ever further from my mind, you know, ‘cause I’m not interested in that big scene. But that was the kind of little thing they were hearing, you see, so I mean that was a bit of the bitterness. But now it’s great, you know. I’ve just worked with Ringo, and I’ve seen – I’ve spoken to John and George pretty recently.