Number 20 - Thinking Of Linking

Beatles Involved: 

Paul, George, Ringo

Listenability: 2 out of 5

An early McCartney song that he wrote when he was about 16. It has a basic guitar intro and only one verse. Paul, George and Ringo play it twice as part of their acoustic Friar Park session in 1994. Both George and Paul seem to enjoy playing it and laughing about Paul's youthful attempt at writing a song.

What they said about:

Ringo:

Isn't that one of the first ones you ever wrote? 

Ringo's off mic question to Paul. Taken from: The Beatles Anthology DVD.

Paul:

It was about one of the first ones. It was a commercial in the, on the cinema, for Link Furniture, called Thinking of Linking. We were at the pictures.  

Taken from: The Beatles Anthology DVD.

'Thinking Of Linking' was terrible! I thought it up in the pictures, someone in a film mentioned it [imitates  an actor in the film] "we're thinking of linking" and I came out of there thinking "That should be a song. Thinking of linking, people are gonna get married, gotta write that! But I could never really get past (singing)             'Thinking of linking dah dah  Thinking of linking dah dah   Think of linking dah dah  Can only be done by two.' Pretty corny stuff! 

Taken from: The Complete Beatles Recording Sessions by Mark Lewisohn p.12 

George:

And there was this song that went...(plays the intro and laughs) 

Taken from: The Beatles Anthology DVD.

Good intro! 

Taken from: The Beatles Anthology DVD.

John:

Thinking of linking is blinking and drinking. 

John improvising new lyrics for the song during a medley of Peggy Sue Got Married/Thinking of Linking. Taken from a recording of the Get Back Sessions.

Other bits and pieces:

On the 29th of January 1969 during the Get Back sessions The Beatles partially played a version of Peggy Sue Got Married during which John start's singing the lyrics to Thinking of Linking.

Thinking of Linking is a very early Paul McCartney composition. The first song he ever wrote was 'I Lost My Little Girl'. Paul did an acoustic version during his appearance on the MTV Unplugged show. Like Thinking of Linking, it is influenced by the style of Buddy Holly and was also played very briefly during The Beatles Get Back Sessions.

If you haven't had enough of listening to the same verses being repeated over and over again here's another version of "I Lost My Little Girl". This home demo features Paul on piano.

Number 19 - Blue Moon Of Kentucky

Beatles Involved: 

Paul, George and Ringo

Listenability: 2.5 out of 5

Playing unrehearsed with two acoustic guitars and brushes Paul, George and Ringo played a number of songs from the early rock and roll days at George's Friar Park in June 1994. Only three of these songs have been released with Blue Moon Of Kentucky being the first to be made public when it was shown on Good Morning America in December 1996. The song was originally a pre-rock and roll waltz by Bill Monroe. It was later covered by Elvis Presley. George doesn't seem overly interested, but at least joins in with a bit of the singing. Otherwise it's fairly unremarkable. No lead guitar, no bass guitar, no vocal harmonies and no John coming back from the dead via a dodgy cassette recording.

What They Said About It

Paul:

Well couldn't we do 'Blue Moon Of Kentucky'? 

Paul speaking to George. Taken from: The Beatles Anthology DVD. 

George: 

Just a shorter version. 

George giving his input as to how the song should be played. Taken from: The Beatles Anthology DVD. 

Ringo:

It was just two acoustic guitars and me on brushes. Taken from The Times (UK). Also quoted in Badman's The Beatles Diary Volume 2 p.521

 Jeff Lynne:

It was just like a time-warp kind of thing. We played some old rock-and-roll stuff, a couple of Chuck Berry's, even I Saw Her Standing There.

Bob Smeaton (The Beatles Anthology director):

The more we include of the three guys together, the more we realise that John isn't there. In years to come people might get the chance to see that footage of the three of them playing together at George's place. Knowing the way Apple works, it'll come out eventually, in some shape or form. There's a whole load of that stuff, we were there for a full day and the Beatles started playing songs like Thinking Of Linking and Ain't She Sweet. A little bit of this film was used when George sang Dehra Dune. They did a whole load of rock'n'roll songs. And we shot a load of stuff at Abbey Road, with the three guys and George Martin, which was fantastic. For the Beatles fan, it's priceless, I'm sure that somewhere down the line, that stuff will come out.

Other Bits And Pieces:

Blue Moon Of Kentucky seems to have been a favourite of Paul's. According to author Gary McGee, it was played a number of times on the Wings 1972 Great Britain Tour. The song also featured on his 1991 album Unplugged (The Official Bootleg) and on Paul's radio program Oobu Joobu broadcast on June 5th 1995.

Here's the Elvis version if you want to compare.

Number 18 - When We Was Fab

Beatles Involved:

George and Ringo

Listenability: 3.5 out of 5

This song about the Beatles is produced in the style of the Beatles. Jeff Lynne was involved and adds his pseudo-Beatles style to the track. Ringo plays drums and Paul was even asked to covertly take part in the film clip (which he didn't do). The lyrics are humorous and there's not much to dislike about the track, except for the one finger piano line in the chorus which sounds a bit tacky and out of place. Perhaps they liked it that way.

What they said about it:

George:

I had this guitar that somebody loaned me and I don't know why, I thought I'd like to write a song like that period. And I could hear Ringo in my head, going, one, two...da-ka thump, da-ka thump.  Taken from: Rolling Stone February 1988.

The last song on Side One is a complete indulgence in nostalgia. Again, it's a song I wrote with Jeff Lynne, based on some idea reminiscent of '67 - '68. This song has a couple of very reminiscent chord changes that I've used in previous old Beatle tunes. And because it's a trip down memory lane, it's also very tongue in cheek. It's supposed to be humorous and it's called 'When We Was Fab'. 

Question: Fabs as in referring to the Beatles?

It's not just meant to be related to the Beatles as the 'Fabs'. It's everybody in that period. Everybody was 'Fab', so I wrote the song to sound like one of those. Jeff and I got all the little bits, crazy backing vocals and cellos. There's even the sitars on the end. I think it's my favourite because it's the first song I've really written with somebody else that was a total collaboration that we were both really pleased with. 

Taken from: Ticket To Ride (S.Muni, D.Somach, K.Somach) p.240 

Question: You've already documented your own anthology. For the benefit of Aussies, tell us about "When We Was Fab".
Yeah, until I finalized the lyric on it, it was always called "Aussie Fab". That was it's working title. I hadn't figured out what the song was going to say ... what the lyrics would be about, but I knew it was definitely a Fab song. It was based on the Fabs, and as it was done up in Australia there, up in Queensland, then that's what we called it. As we developed the lyrics, it became "When We Was Fab". It's a difficult one to do live because of all the all the little overdubs and all the cellos and the weird noises and the backing voices. Who knows ... maybe next time, we'll attempt it. We'll try it in the rehearsal and see. 

Taken from: George Harrison Gets "Undercover" By Paul Cashmere.

Question: Does he [Ringo] play on "When We Was Fab"?Oh, yeah. I mean, before I wrote the song, or when I sat down to write it, I thought, "This one’s gonna start with Ringo going, ‘One, two, DUHtabumb, DUHtabumb.’" That was the intro in my head; that was the tempo it was always going to be.Taken from: The George Harrison Interview CREEM  December 1987 and January 1988.

Those fills are just pure Ringo.  

Taken from: Rolling Stone February 1988.

 Ringo:

Question: You also worked on George's Cloud Nine, something he said he enjoyed doing very much.

Oh, yeah, I think it's the best album George has done in a year. It's up and it's good and he has some great songs, like 'Fish on the Sand'. Let's see, what else does he do? Ah, 'When We Was Fab', which is the one I think should be the single. But it'll be left up to the powers that be who'll do whatever they want.

He did it with Jeff Lynne. Jim Keltner was on it, I was on it, Gary Wright, Eric's on it, Elton's on it. You know, all of us people who are out of work, we get together. 

Taken from: Ticket To Ride (S.Muni, D.Somach, K.Somach) p.182

Paul:

Question: Did you appear in George Harrison's video for "When We Was Fab"? There were stories that it was you inside the walrus costume. 

No. George wanted me to be in it but I wasn't available. So I suggested that he put someone else in the walrus and tell everyone that it was me. We've always had fun with the walrus thing. We don't lay many false trails but the walrus has always been one of them. Anyway, it was me in the walrus costume in 'Magical Mystery Tour', it wasn't me in "When We Was Fab" - it was a joke between George and me, which we purposely decided not to tell anyone. 

Taken from: Record Collector. Feb 1995 No.186 p. 21

Bits and Pieces

• 'When We Was Fab' was released as a single. Longtime Beatles' friend, bass guitarist and artist Klaus Voorman did the cover art for the single. It was Klaus who did the cover art for The Beatles' Revolver album.
• George talks about using "a couple of very reminiscent chord changes that I've used in previous old Beatle tunes". What could these chord changes be? The first line of the song (Back then long time ago when / grass was green) features an Am chord changing to an F7.  These are the two chords in the opening line of Glass Onion (I told you about / strawberry fields). When We Was Fab then goes to an Am chord with with a changing bass note. Here, the line "Woke up in a daze" has the chord change Am, Am/B, Am/C, Am/D.  A chord change like this can be done on guitar by moving one finger around while keeping the rest of the fingers in place. This was a trick The Beatles used several times in their songs. For example, in I'm So Tired the sound of the chord change of A, Eaug, F#m (played in the line, "I wonder should I call you, but I know what you would do") can be achieved by moving one finger up the fret board while keeping the other fingers in place. Similarly, in While My Guitar Gently Weeps the first chord change from Am to Am/G is done by moving one finger. In Something George uses a variation of this trick in the opening line of the verses although in this case the changing note is not the bass note. Once you know this little trick anyone can write your own Beatles sounding song on guitar or piano. Neil Innes from The Rutles did it in his song 'How Sweet To Be An Idiot.' And of course Oasis did it in their similar sounding 'Whatever'. Heck, even I've written a couple of brilliant Beatles inspired songs using this trick!

Number 17 - Back Off Boogaloo

Beatles Involved:

Ringo and George

Listenability: 4 out of 5

When first released as a single in 1972 Ringo was listed as the sole composer. George produced the song and also played guitar on the track. It wasn't until the release of Ringo's 2017 album, 'Give More Love' which featured a new version of the song that George was credited as a co-writer of the song. This makes the song one of only two to be officially credited as having been written by Ringo and George.

The track itself is an upbeat number with a glam rock sound. Evidently Ringo seems to quite like the song as he has now recorded three different studio versions, the single version released in 1972, an album version on 1981's 'Stop and Smell The Roses' and then finally, the version on 2017's 'Give More Love' album. George only actually plays on the 1972 version.

What they said about it:

Ringo: 

We were moving house to Los Angeles, and a ship brought six containers of my stuff – of course, most of it was Barbara's. But I'm going through it, and found a box of little two-inch reel-to-reel tapes. My assistant Scotty was checking out everything in the office, and he said, "You should listen to this." It's me singing Back Off Boogaloo with this great guitar. I'm thinking who the hell is that playing? Then I realise, I'm on guitar! It's 1971, Marc Bolan had been over the night before and used the word "Boogaloo", and I woke up and the reel-to-reel captures the song coming. So I gave the tape to Jeff (Lynne) to do some new production around that, which he did, then he got busy on tour, but his guitar is on it.

(Source: Sydney Morning Sun, September 5, 2017) 

Number 16 - Grow Old With Me

Beatles Involved:

Paul, Ringo (John as composer, George as composer)

Grow Old Along With Me is a John Lennon composition originally intended for John and Yoko's 1980 album, 'Double Fantasy'. Rather than rush the recording of the track however, they decided to hold the track over and record it properly for their follow up album. These plans never eventuated and the only recordings John made of the song were home made cassette recordings. 

Following John's death a number of cassettes recordings of John were stolen from Yoko. The only remaining version of 'Grow Old With Me' left in her possession contained John on vocals, piano and rhythm box. This version was released in 1984 on the posthumous Milk and Honey album. In 1998 this primitive recording was used to create another version with an orchestral arrangement by George Martin added. This time the song was produced by George Martin, with Giles Martin as the Assistant Producer. Despite some audio restoration, the new orchestral arrangement did not blend in well with the cassette recording and the sound of the rhythm box was particularly jarring. In 2009 a new bootleg recording of John performing the song on guitar surfaced. This is presumably taken from one of the cassette recordings stolen from Yoko shortly after John's death.

In a conversation between 'Double Fantasy' producer Jack Douglas and Ringo sometime prior to December 2017, Ringo mentioned he no longer had a cassette recording John had made in 1979 / 1980. This cassette feature numerous songs John has made including some that he apparently intended to give to Ringo to record. Since Jack Douglas had a copy of this cassette he took it to 'United Recordings' studios to have the tracks professionally transferred so he could share them with Ringo. In 2016 Jack Douglas had said of some cassette recordings,

 'The songs all began with an explanation, a lot of it funny, and all of them ended with, “What a piece of crap. I’m going to give it to Ringo for his solo album.”

 (Source: https://gothamist.com/arts-entertainment/producer-jack-douglas-talks-about-his-last-night-with-john-lennon-some-a-hole-shot-him-when-he-got-home )

Head archivest at United Recordings, Dan Johnson said in 2017, "The cassette was in great condition and played back perfectly."

With the John Lennon 1998 orchestral version of the song not quite hitting the mark, the 2019 version recorded by Ringo, with bass guitar and some additional vocals by Paul has the potential to be the more definitive full orchestral version of the song. The song also features a string arrangement scored by Jack Douglas and within this arrangement is a line of the melody from George's composition 'Here Comes the Sun'. In this way, the song has at least some contribution from all four former Beatles.

What they said about it:

Ringo:

“Jack asked if I ever heard The Bermuda Tapes, John’s demos from that time....And I had never heard all this. 

“The idea that John was talking about me in that time before he died, well, I’m an emotional person. And I just loved this song. I sang it the best that I could. I do well up when I think of John this deeply. And I’ve done my best. We’ve done our best. 

“The other good thing is that I really wanted Paul to play on it, and he said yes. Paul came over and he played bass and sings a little bit on this with me. So John’s on it in a way. I’m on it and Paul’s on it. It’s not a publicity stunt. This is just what I wanted. And the strings that Jack arranged for this track, if you really listen, they do one line from ‘Here Comes The Sun.’ So in a way, it’s the four of us.”

(Source: https://www.udiscovermusic.com/news/listen-to-ringo-starr-title-track-whats-my-name/ ) 

Yoko:

“For John, "Grow Old With Me" was one that would be a standard, the kind that they would play in church every time a couple gets married. It was horns and symphony time. But we were working against a deadline for the Christmas release of the album, kept holding "Grow Old With Me" to the end, and finally decided it was better to leave the song for "Milk and Honey" so we won't do a rush job."

(Source: Milk and Honey album sleeve note written in 1983.)

Jack Douglas:

"I was hanging out with Ringo [recently] and he said to me, 'I had a bunch of John's memorabilia in a box and when I moved, the box disappeared. I don't have that cassette from Bermuda anymore.'...I wanted to make a CD of the cassette for Ringo and came to United to work with archivist Dan Johnson."

(Source: Prosoundnetwork, 21 December 2017 https://www.prosoundnetwork.com/recording/john-lennon-demos-archived-at-united-recording )

Number 15 - Take It Away

Beatles Involved:

Paul and Ringo

Listenability: 5 out of 5

A reggae inspired bass line, a gentle verse leading to an joyful chorus, in a song that builds into big band swing with a hint of ska. The arrangement is by McCartney and George Martin. The fact that George Martin plays electric piano adds to the fun. Ringo plays drums, albeit with a second drummer, Steve Gadd. For some the sound is too slick. For those who love pop and  don't mind the slickness it's great tune! Seeing Ringo, George Martin and Paul playing together in the film clip is a bonus.

What they said about it:

Paul:

I felt a bit limited working with the group and I just didn't fancy going in and making another group album. So I decided to approach it in another way-- to take each song and ask myself, 'Who would the best drummer be to work with for that kind of song?' I cast them all. It was something I've never done. So instead of getting the group and just working with a one bunch for a whole album, which I'd done plenty of times, I just fancied trying it this way. So I grabbed Steve Gadd for a couple of sessions and Ringo for a couple of others and just grabbed people according to their styles. The album is like a star-studded cast of thousands, which, to me is a little bit of a drawback, if anything. Normally I don't like albums with huge casts on them... like supergroups. 

 Talking about his Tug of War album. Taken from: Music Express, April/May 1982

Ringo:

Paul’s got this new album he did in Monseratte, I mean I’m only on a couple of tracks, Stevie Wonders on a couple of tracks….On this album, what he’s doing, he’s bringing a lot of pals in, ‘cause that’s what we do. 

Talking about Paul's Tug of War album. Taken from: Merv Griffin Show 1981

Bits and Pieces:

• According to the album liner notes Paul plays piano, bass, acoustic guitar and sings on this track and George Martin plays the electric piano. In the film clip however George Martin appears to be playing the piano parts that Paul actually plays on the track. 
• This song appears on Paul's Tug of War album from 1982. It was also released as a single reaching number 10 in the US and number 15 in the UK.
• In 2011 Paul's handwritten notes for the film clip sold at auction for over US$25 000. See images of these notes below.

 

Number 14 - How Do You Sleep?

Beatle involvement:  

John and George

Listenability: 3.5 out of 5

An anti-Paul song written by John that features George on slide guitar. John plays the slightly distorted guitar whose low descending notes you can hear during the verses and whose powerful chords can be heard in the chorus. George plays slide guitar which can be heard only quietly in the mix apart from the guitar solo. George’s presence on the track adds extra venom to the song.

Although the song is a deliberate direct attack on Paul many of the song's criticisms of Paul don’t stand up to scrutiny. Paul gets attacked for having ‘Mama’s eyes’, and being a weak song writer who would eventually be caught out by the public. In fact it was John who was far more emotionally attached to his ‘mama’ than Paul was. And commercially at least, Paul was having more success as a song writer than John was at this stage. It all makes sense when John realizes that he is actually projecting his own insecurities onto Paul and that the song is really about John himself.

What they said about it:

John:

That’s the nasty one.  

Taken from 'Give Me Some Truth' documentary.

I know you'll all be wondering about this one! it's been around since late '69 in a similar form to this - but not quite (ie more abstract). I'd always envisioned that heavy kind of beat for it and wanted to record it whatever the lyrics turned out to be. When I heard Paul's messages in Ram - (yes there are dear reader!) too many people going what? Missed our lucky what? 'documentary my dear Datsun' 'can't be wrong' huh! I mean Yoko, me and other friends can't all be hearing things. So to have some fun I must thank Mark Allen Klein publicly for the 'line' 'just another day', a real poet! Some people don't see the funny side of it at all. Too bad. What am I supposed to do, make you laugh? It's what you might call an 'angry letter' only sung, get it? George Harrison's best guitar solo to date on this cut - as good as anything I've heard from anyone - anywhere. Nice piano from Nicky - I'm singing sharp again - but the rhythm guitar makes up for it! A good 'live' session from all the band (strings added as usual in RP.)  

Taken from John's Handwritten notes. Letter 150. The John Lennon Letters. Edited by Hunter  Davies.

Question:  Is there a song on your album 'Imagine' that refers to Paul... lines about a pretty face and the sound of Muzak? 

Er, there's a song which COULD be a statement about Paul. It could be interpreted that  way. But then, it could be about an old chick I'd known.  

John Lennon Interview: Hit Parader magazine, February 1972

Question: In retrospect now do you regret ‘How Do You Sleep?'  

No, somebody said the other day ‘It’s about me’. You know I regret .…there’s two things I regret. One is that there was so much talk about Paul on it they missed the song, it was a good track. And I should’ve kept me mouth shut, not on the song, it could’ve been about anybody, you know. And when you look at them back, Dylan said it about his stuff, you know, most of it’s about him. I wrote a sort of son of ‘How Do You Sleep’ on ‘Walls and Bridges’. I can’t remember the name…’Steal and Glass’. Which I thought was about a few people, then I realized, it’s me again.So it's not about Paul, it's about me, you know. I'm really attacking myself. But I regret the association...but what do I have to regret, you know? He lived through it. The only thing that matters is how he and I feel about these things and not what the writer or commentator thinks about it. Him and me are okay. 

Old Grey Whistle Test. March 1975 

I used my resentment against Paul that I have as a kind of sibling rivalry resentment from youth to create a song... not a terrible vicious horrible vendetta... I used my resentment and withdrawing from Paul and the Beatles, and the relationship with Paul, to write 'How Do You Sleep.' I don't really go 'round with those thoughts in my head all the time.  

Taken from Playboy interview 1980.

Question: Just a quick aside, but while we're on the subject of lyrics and your resentment of Paul, what made you write 'How Do You Sleep?,' which contains lyrics such as 'Those freaks was right when they said you was dead' and 'The only thing you done was Yesterday/And since you've gone, you're just Another Day'?
You know, I wasn't really feeling that vicious at the time. But I was using my resentment toward Paul to create a song, let's put it that way. He saw that it pointedly refers to him, and people kept hounding him about it. But, you know, there were a few digs on his album before mine. He's so obscure other people didn't notice them, but I heard them. I thought, Well, I'm not obscure, I just get right down to the nitty-gritty. So he'd done it his way and I did it mine. But as to the line you quoted, yeah, I think Paul died creatively, in a way. 

Taken from Playboy interview 1980.

 Paul:

I think it's silly. So what if I live with straights? I like straights. I have straight babies. It doesn't affect him. He says the only thing I did was 'Yesterday.' He knows that's wrong. (Paul motions to the studio below) I used to sit down there and play, and John would watch me from up here, and he'd really dig some of the stuff I played to him. He can't say all I did was 'Yesterday' because he knows and I know it's not true. 

Melody Maker 1971

The answer to John was well - I was sleeping very well at the time. Before John died I got back a good relationship with him. That was very special. The arguments we had didn't matter. We were able to just take the piss about all those songs; they weren't that harsh. In fact, I have been thanked by Yoko and everyone else for saving the Beatles from Allen Klein. Everything comes round in the end. 

 The Times, London 2008

Klaus Voorman:

Question: ‘How Do You Sleep’ – quite a scathing attack on McCartney, isn’t it?Well that’s a sort of gift John has and he doesn’t mind being rude. He didn’t mind being rude to me or anybody else and he just wanted to write a rude song. Like I say, he didn’t mean it forever and I’m sure he didn’t think about it all. But at the time that’s the statement, the way he felt and it’s perfect. I love it. You have all those hassles with Allen Klein and Eastman and there were dirty things going on. Nobody can really look behind the curtains and it’s impossible for the outsider to really know.Taken from: The Prism Archive prismfilms.co.uk

http://www.youtube.com/watch?feature=endscreen&v=SHXnk2EpRZk&NR=1 

Alan White:

How much comfortable did you feel recording “How Do you Sleep?” (John Lennon’s song about Paul McCartney)? 

(Laughs) Well, before we did the song, John gave us a paper with the lyrics. He said: “Read the lyrics of the song and tell me whether you want to play in it or not. That’s the subject of the song”. I said “No, I don’t have any problem. I want to play in this song”. I thought it sounded great. This shows the musicianship John Lennon had at the time. He was the top of the top.

HIT CHANNEL EXCLUSIVE INTERVIEW: September 2012

Other bits and Pieces:

Did Yoko write part of the song?

In John Blaney's book '1970-1972 People for Power' he quotes Denis Felix of Oz magazine as saying, "Yoko wrote many of the lyrics. I watched her racing into the studio to show John, and they’d burst out laughing. The mood there wasn’t totally vindictive – they were taking the piss out of the head master…"

Was Ringo present at the time?

Again in '1970-1972 People for Power', John Blaney writes: Ringo Starr, who was visiting the studio at the time, was upset by the song and reportedly told Lennon, ‘That’s enough, John.’ 

Number 13 - I Don't Want To Be A Soldier

Beatle involvement:  

John and George

Listenability: 3 out of 5

An anti-war song that sounds a bit like a jam session. Lyrically the message is in the title with the other lyrics barely even making sense, for example ‘I don’t want to be a sailor mama – I don’t want to fly’. Musically the song has little more than one line, with variations, that is repeated over and over. Thankfully George’s slide guitar adds to the song and helps make it sound more complete.

What they said about it:

John:

Started off in the 'working class hero days' finished off virtually in the studio. It has a peculiar rhythm and Jim Keltner and the rest of them do a fantastic job keeping up, this was another first take (obviously) the words are lost or wrong sometimes I also sing it in many keys at once! But it still has a nice feel - it depends on what mood I'm in to like it or not. Yoko sticks up for it (each song takes on a personality when it is finished and we get possessive!) 

John's handwritten notes. Taken from: Letter 150. The John Lennon Letters. Edited by Hunter Davies.

[Talking about the Imagine Album in general] It's the best thing I've ever done. This will show them. It's not a personal thing like the last album, but I've learned a lot and this is better in every way. It's lighter too - I was feeling very happy. There's a guy called George Harrison on it and he does some mother of solos. George used to be with The Bubbles or somebody. Then there's a guy called Nicky Hopkins. Then there's Jim Gordon on drums, Alan White on drums, Jim Keltner on drums, and they're fantastic."

John Lennon Interview: Hit Parader magazine, February 1972

Yoko:

"I don't wanna be a soldier, Mama, I don't want to die" — that says it all! A beautiful anti-establishment song, not just about a soldier but also a priest. He was just being himself. George's slide guitar is incredible. He was fantastic.  

Taken from: Rolling Stone – The Playlist Special December 2010

Joey Molland:

So they started playing I Don't Want To Be A Soldier Mama and me and Tommy [Evans] were just hanging out. We just started to play along because we weren't about to move and let somebody throw us out. We didn't play it, we just started this 'doodley-do' kind of Bo Diddley strumming, because the song didn't seem to settle into any particular rhythm. And it ended up on the record. One of the most exciting nights of me life.

Taken From: Without You: The Tragic Story Of Badfinger by Dan Matovina

Other bits and pieces:

• A version of the song without George Harrison playing appears on the John Lennon Anthology.
• According to author Keith Badman, 'Legendary sax player King Curtis' who played at the sessions  for 'It's So Hard', 'I Don't Want To Be A Soldier' and 'How Do You Sleep?' on 4th and 5th July 1971 was 'killed in a street fight just six weeks later'. Taken from The Beatles Diary Volume 2: After The Break-Up 1970-2001. Page.38

Number 12 - Six O'Clock

Beatles Involved:

Paul and Ringo

Listenability: 3.5 out of 5

Like ‘Fool On The Hill’, the first time you hear this tune you can tell by the melody that it’s been written by McCartney. Adding to the fact that he wrote it, he also played piano and synthesiser and sang backing vocals (with Linda) on the track. Little wonder then that the track sounds like pure Paul with Ringo happening to be singing on it. While it’s not necessarily one of McCartney’s best songs it’s enjoyable just the same.

What they said about it:

Ringo: 

"Six o'clock in the morning/You've just gone to sleep." Paul wrote that. See, they knew me so well, they would write songs that they felt I could get away with. A lot of the songs they wrote for me, they would not have thought of doing themselves.  

Taken from: Billboard.com: RINGO'S ALL STARRS PLAY AND ACT NATURALLY by Timothy White May 26, 2001

The one thing that was planned in the end was that [producer] Richard Perry and I decided -- with this incredible gift of fate that we've got these two [ex-Beatles] on it -- let's call Paul and see if he wants to get on it. And he said yeah!

Taken from: Billboard.com: RINGO'S ALL STARRS PLAY AND ACT NATURALLY by Timothy White May 26, 2001

Paul:

The others did some tracks for it in Los Angeles and then the material was brought over here for me. I worked on a track called ‘Six O’Clock’, so in a way there’s been some collaboration already and I think that kind of thing might happen more often. I’m happy to play with the other three and I’m sure they are too if it is physically possible but more important for me is the new thing because I really get turned on by new ideas. 

Taken from The Beatles Diary  Vol.2. Keith Badman

Question: Why did you do the Ringo song?I would do it for any friend. I would do it for Rod Stewart if he rang up. 

Taken from The Beatles Diary  Vol.2. Keith Badman

 Other Bits and Pieces:

An extended version of the song with a longer refrain was released on the Goodnight Vienna CD. It had previously been released on 8 Track Cartridge.

According to author Keith Badman, after hearing that Paul would write him a song if he rang Rod Stewart did call,  resulting in the song Mine for Me. This song was written by Paul and Linda McCartney. It was released on Rod Stewart's 1974 album titled 'Smiler'.

Number 11 - Early 1970

Beatle involvement: 

George and Ringo

Listenability: 4.5 out of 5

A humorous ditty written by Ringo about the four individual Beatles. The first verse is about Paul, the second about John, the third about George. The fourth verse is about Ringo. According to sleave notes on the 1991 re-release of the ‘Ringo’ album it was recorded on March 8^th 1970 with Ringo producing the song and playing acoustic guitar as well as drums. The sleeve notes also state that the ‘other guitars were played by George Harrison’. Originally it was released as the B side to ‘It don’t come easy’. George’s slide guitar throughout the song adds to its charm. 

What they said about it:

Ringo:

“I also wrote a song called ‘Early 1970’ which was all about the other three and about what was happening. ‘Pattie was in the garden picking daises for George’s soup and when he comes to town, I know he’s going to play with me.’ John was in bed eating cookies but when he comes to town, I know he’s going to play with me.’ ‘Paul lives on a farm – he’s got plenty of sheep, or something, but when he comes to town I wonder if he’ll play with me.’ Taken from ‘Postcards From the Boys. P. 53.

“It was a time when Paul was angry at us. So if you listen to the song, it says . . .  about John, ‘When he comes to town, I know he’s going to play with me.’ George’s ‘long-legged lady . . . and when he comes to town, I know he’s going to play.’ And then Paul: ‘And I hope he’s going to play with me,’ because I didn’t know if he would, but that’s how it happened.” Source: Rolling Stone article, 'Being Ringo: A Beatle’s All-Starr Life', 15 April 2015