"I've Got A Feeling", I think that ev'rybody knows, that The Beatles and Billy Preston were really starting to loosen up and "have a good time" by the time they got to this one on the Apple Corps roof-terrace that chilly January day in 1969; Billy puttin' the soul into the rock, folky, bluesy thang that Both Boss Beatles were puttin' together up there, however far apart they were with both feet on the ground.
The reaction of the Londoners down on the street below, as captured in the Let It Be
movie edit, was varied: but what really mattered was the sheer quality of the performance going on above their heads (in both senses of the expression).
Before the looping chimes of the introduction have really finished, Paul's in there with the vocal, exuding all the self-assuredness of a man who knows
he's found the girl of his dreams — "yeah, that's right!" That intro motif (lifted from John's unreleased "Watching Rainbows") continues to rematerialize throughout the song, Preston's keyboard chattering in and around it, providing a constancy amongst the various twists and turns it takes along the way, just to "keep you on your toes".
After a bit of preliminary cymbal/snare shuffling, drums and bass kick in with simultaneous enormity, and away we go! John joins in on the vocal, the Two Of Them playfully bouncing their celebrated Oh Yeah
catchphrase between them (with a few 'Oh Nos' for good measure), then Macca whacks it up still further for the bridge: a ballsy, bluesy rant as big and bristly as his beard — with strings, skins, keys and bristles at busting point all round:All these years I've been a-wandering around,
Wondering a-how come nobody told me
All that I was looking for was somebody who looked like you!
George throws in a freefall downscale for Paul to grunt it back into another verse. "Hate to miss the train".
Then it's Lennon's turn to take the lead. His "Ev'rybody" litany had been demoed back on The White
Had A Hard Year", but here it leaps into another dimension altogether. Though the vocal's nowhere near as big as Paul's, there's an equally powerful emotional charge to the delivery. The oh yeah/oh no
horseplay seals it into the main theme hermetically, as does the Dark Horse's exceptional guitarwork.
Of course, this was by no means the first time that separate LenMac songs had been welded together as a single entity — "A Day In The Life"
and "Baby You're A Rich Man"
, for example. But never had they done it like this, with the McCartney theme returning to seamlessly overlap with Lennon's, gloriously criss-crossing up to the final delirious crescendo.
The two songs in themselves couldn't be more different — as were the two composers' heads at the time. Yet somehow, despite the universe of distance between them, they were completely and utterly together as "ev'rybody let their hair down" up there on the roof. Having "pulled his socks up" in order to not 'cock it up trying to get loud', as he had on the earlier Anthology 3
take, John could only conclude:Oh my soul — it's so hard!
The 2003 cut is actually far more polished than the original, combining two different renditions: which seems kind of out of step with the whole philosophy of both the Get Back
and the Naked
projects. Different for the sake of it?I've got a feeling...