‘What Do You Want To Make Those Eyes At Me For?’ (1916) Beatles kinda killing time at this point. ‘Midnight Special’ (1923)Ĭountry blues jailhouse rocker first officially recorded by Dave ‘Pistol Pete’ Cutrell. ‘Ob-La-Di, Ob-La-Da’ (1968)īlowing off steam, the band run through a comedy take of Paul’s reggae conga, with John singing the chorus as “ Oh by gum”. The one track from John and Paul’s skiffle rock past which sparks some interest – “I wrote that when I was about 15,” says John, and it finally gets its day in the sun on ‘Let It Be’. ‘Won’t You Please Say Goodbye’ (1950s)Īnother rhythm and blues slow-burner from the archives, resembling an early run at ‘Baby’s In Black’. We get barely a snippet of this early McCartney tune, but it sounds as if it might have been a southern blues homage. “I don’t think that ever got there, did it?” Paul chuckles. ‘Because I Know You Love Me So’ (1950s)Ī country and western number from the same bag of discarded ‘50s pre-Beatles compositions. Lacking new songs, a number of tunes from John and Paul’s teenage writing sessions were revisited briefly for possible inclusion, including this skiffle throwaway. ‘Taking A Trip To Carolina’ (1969)Ī steamboat piano ditty Ringo had been working on at home, given a cheery 20-second preview for Paul and George’s amusement. ‘Tea For Two’ (1924)Ī Broadway hit of the ‘20s, given some swing by Paul at the piano as he and a tap-dancing Ringo wait for the others to show up on day two. The lyric sheet reads “A Quarrymen original”.
The intimate folk opener of ‘Let It Be’, something of an Everly Brothers tribute, begins life as a Wings-friendly groove rocker with a chorus of “ you and me, Henry Cooper” in the film before evolving – via versions in Dylan, Jamaican, upper class, Scottish, comedy Elvis and ventriloquist accents – into its far more subtle acoustic form. Warming to the Dylan theme, The Beatles would have heard Bob’s prison lament on The Band’s 1968 album ‘Music From Big Pink’.
McCartney gives Manfred Mann’s Dylan-penned 1968 hit a brief high-pitched rendering. ‘Quinn The Eskimo (The Mighty Quinn)’ (1968) Chuck Berry’s legendary roadhouse rocker and a Hamburg favourite, given a cursory twangle at Twickenham.
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