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| Anthony Fawcett: One Day At A Time (1976) |
The following appeared in Anthony Fawcett's 1976 book, One Day At A Time (p. 95-97):
John, Paul and George discussed this problem at Apple in the autumn of 1969, on one of the rare occasions when they got together. John glared at Paul and said, sarcastically: "It seemed mad for us to put a song on an album that nobody really dug, including the guy who wrote it, just because it was going to be popular, 'cause the LP doesn't have to be that. Wouldn't it be better, because we didn't really dig them, yer know, for you to do the songs you dug, and “Ob-La-Di, Ob- La-Da" and "Maxwell" to be given to people who like music like that, yer know, like Mary [Hopkins] or whoever it is needs a song. Why don't you give them to them? The only time we need anything vaguely near that quality is for a single. For an album we could just do only stuff that we really dug."
“We always carved the singles up between us,” he told Paul. “We have the singles market, [George and Ringo] don’t get anything! I mean, we’ve never offered George ‘B’ sides; we could have given him a lot of ‘B’ sides, but because we were two people you had the ‘A’ side and I had the ‘B’ side.”
“Well the thing is,” Paul answered, without even looking at George who sat a few feet away, “I think that until now, until this year [1969], our songs have been better than George’s. Now this year his songs are at least as good as ours.”
George was quick to correct Paul: “Now that’s a myth, ‘cause most of the songs this year I wrote about last year or the year before, anyway. Maybe now I just don’t care whether you are going to like them or not, I just do ‘em… If I didn’t get a break I wouldn’t push it. I’d just forget about it. Now for the last two years, at any rate, I’ve pushed it a bit more.”
“I know what he’s saying,” John said, “‘cause people have said to me you’re coming through a lot stronger now than you had.”
“I don’t particularly seek acclaim,” George said. “That’s not the thing. It’s just to get out whatever is there to make way for whatever else is there. You know, ‘cause it’s only to get ‘em out, and also I might as well make a bit of money, seeing as I’m spending as much as the rest of you, and I don’t earn as much as the rest of you!”
Like the others, George was now out on his own musically. "Most of my tunes," he said, "I never had the Beatles backing me."
"Oh! C'mon, George!" John shouted. "We put a lot of work in your songs, even down to 'Don't Bother Me'; we spent a lot of time doing all that and we grooved. I can remember the riff you were playing, and in the last two years there was a period where you went Indian and we weren't needed!"
"That was only one tune," George said. "On the last album [White Album] I don't think you appeared on any of my songs--I don't mind."
"Well, you had Eric [Clapton], or somebody like that," John replied, in a hurt tone of voice.
There was a long pause as each Beatle seemed lost in contemplation, wondering. Not wanting to admit that they were becoming individual musicians, Paul grasped at the remnants of truth and spoke slowly, almost whispering. “When we get in a studio, even on the worst day, I’m still playing bass, Ringo’s still drumming, and we’re still there, you know.”
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There is more dialogue on pages 92-95 which is possibly from the same meeting (this one Fawcett ascribes to September 1969), wherein John complains about having to fight to get his share of songs on an LP, or single A-sides, and basically admits to having given up.
I’m pretty sure this was Schaffner’s source in Beatles Forever (1977), although he may have gotten to hear the tape as well. There are a few people out there who claim to have heard portions of it (I certainly haven’t).
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| Nicholas Schaffner: The Beatles Forever (1977) |
Here's what Nicholas Schaffner said in "Beatles Forever", from pages 130 & 131 of the Third edition 1978:
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"In any case, shortly after Year One's [peace and music festival] organizers passed word that the Beatles, Bob Dylan, and a convoy of U.F.O.'s were all likely to appear, in Toronto the coming July [1970], Lennon called the whole thing quits. The reasons given involved business differences, but after Altamont [Dec 6, 1969], the rock festival was on its way out anyway. The counterculture had lost one of its most potent symbols; and it was about to lose another.
The Beatles' few remaining meetings seldom produced anything but further disagreement. Once, when Paul tried to corral the others into going back on the road, John stunned him with the words: "I want a divorce." Both McCartney and Klein persuaded him to reconsider, or at least not to sound off to the press.
On another occasion, preserved on tape (the Beatles having caught Andy Warhol's habit of letting tape recorders eavesdrop on intimate conversations), John and George presented Paul with an ultimatum. Lennon said he was tired of playing a bit part in "pre-packaged productions," conceived by and tailored to the genius of Paul McCartney. Henceforth the three Beatles must each be awarded precisely four songs per album, with Ringo getting to add one or two if he so desired. Paul complained that that kind of arbitrary regimentation was more suited to the military than to the Beatles, but the others insisted it was the only way to insure a fair shake for all.
That proved to be a moot point, however, as the fabulous foursome never made it back into the recording studio. In the absence of fresh Beatles product (the Get Back/Let It Be tapes continued to languish on the shelf) Klein patched ten old songs together to create an LP for the American market; his title, The Beatles Again, was revised by public demand to Hey Jude."