Fans The Beatles | Dunia SEO

Abbey Road Studio and J-rocks

J-Rocks is a music group to take the origin of a flow of Japanese pop / rock, and established since 2003. J-Rocks personel is Iman (vocal, guitar), Sony (guitar), Wima (bass) and Anton (drums).

In 2005, they released an album of Topeng SAHABAT under the label Aquarius Musikindo. They also fill the two songs in the OST album DEALOVA namely Into the Silent and Serba Salah.

Two years later, J-Rocks issued second album, SPIRIT, which displays a variety of beat and the flow of music such as Rock 'n Roll (Juwita Heart), Waltz / Victorian (Tersesal), Blues, Classic. On this second album, J-Rocks recording together with Prisa.

Why write this post? What is the relationship with Abbey Road Studio?

J-Rocks, just go back to Jakarta, after the golden opportunity for the recording at Abbey Road Studios, London, UK. When recording, the Ambassador of Indonesia to the UK, Yuri Thamrin, come visit and meet the personnel J-Rocks.

"Proud we also recorded the time, Mr. Dubes come. I know he has been looking and reading all about the J-Rocks," Anton said the drum, when found in Plaza Senayan, Jakarta, Thursday (23/10).

Yuri previously served spokesman Ministry of Foreign Affairs, had also expressed pride and gratitude on the performance of J-Rocks.

"Time is the proud because he is easier job as ambassador of Indonesia. Because of his name and maintain the J-Rocks come to the UK for the recording, one thing is extraordinary," said Anton again.

The four songs in the middle-mastering in Australia is planned to be made in the form of a mini-album, but the owner of the album Topeng SAHABAT and SPIRIT is not yet know precisely when the album was released, except the single Falling in Love will be coming in November.

The four songs in the middle-mastering in Australia is planned to be made in the form of a mini-album, but the owner of the album and Topeng SAHABAT SPIRIT is not yet know precisely when the album was released, except the single Falling in Love will be coming in November.

During 11 days in the UK, J-Rocks fill the stage at the opportunity KBRI, visiting Liverpool, Beatles Museum, watch the football rivalry between England vs Kazakstan.

Abbey Road Studio is a historic recording studio, built in 1931, is very sticky with legendary group The Beatles, because most of the album and single they recorded in studio style 'Gregorian' is for 8 years (1962-1970). Abbey Road and even elected to the title of the album The Beatles, which was launched in 1969.

Up to now, Abbey Road Studios was a successful print board with dozens of artists over the world such as Cliff Richard, Radiohead, Pink Floyd, Oasis, Green Day and U2.

The First Time The Beatles Recordings

Do you know the beatles first recording?
Abbey Road Studios, established in November 1931 by EMI in London, England, is a recording studio located at number 3 Abbey Road, in St John's Wood in the City of Westminster.
Therein the first time the beatles recordings.
Abbey Road Studios is most closely associated with The Beatles, who recorded 90% their albums and singles there between 1962 and 1970.

In the early part of the 1960s, EMI's Abbey Road Studios was equipped with EMI-made British Tape Recorders (BTR) which were developed in 1948, essentially as copies of German wartime recorders. The BTR was a twin-track, valve (Vacuum tube) based machine. When recording on the twin-track machine there was very little opportunity for overdubbing the recording was essentially that of a live performance.

The first two Beatles albums, Please Please Me and With The Beatles, were recorded on BTR two track machines; with the introduction of four-track machines in 1963 (the first 4-track recording was "I Want to Hold Your Hand") there came a change in the way recordings were made—tracks could be built up layer by layer, encouraging experimentation in the recording process.[citation needed]

In 1968 eight-track recorders became available, but Abbey Road was somewhat slow in adopting the new technology and a number of Beatles tracks (including "Hey Jude") were recorded in other studios in London to get access to the new eight-track recorders.

The Beatles' final album, Let It Be, was the only one to be recorded using a transistorised mixing console rather than the earlier valve consoles. Engineer Geoff Emerick has said that the transistorised console played a large part in shaping the album's overall sound, lacking the aggressive edge of the valve consoles.

At the time Paul McCartney says:"We would say, 'Try it. Just try it for us. If it sounds crappy, OK, we'll lose it. But it might just sound good.' We were always pushing ahead: Louder, further, longer, more, different".

And in the end The Beatles created the album.

What is it that makes Revolver a contender – why are people drawn to listen to it, and why do they invariably fall in love with it when they do? That Revolver is a good album has never really been questioned by critics, but in 1966, they were still excited about Rubber Soul which had been released only 8 months earlier. Brian Wilson of the Beach Boys memorably summed up Rubber Soul as containing “all good stuff”2, and he credits it with inspiring his own contender for the title “best album of all time", Pet Sounds. Many of the 14 songs on Revolver (10 in the USA) were similar in style and instrumentation to those on Rubber Soul. Even the sound of the sitar, in a superficial sense at least, represents a retread of Rubber Soul. Revolver was, in fact, made to the same formula as Rubber Soul. That is to say that they both have the same number of songs, many of which are in the same styles - soul or rhythm'n'blues with ornamentations, or classically influenced ballads, and folk-rock. Both albums start with an up-tempo bass- driven tune, and both feature a Ringo Starr vocal approximately midway through the running order. George Harrison himself said that there wasn't “much difference between Rubber Soul and Revolver. To me, they could be Volume 1 and Volume 2”3.

He's right, to a degree. There are songs on Revolver which, in musical terms at least, would have fit perfectly well on Rubber Soul – “Here, There and Everywhere”, for example, or “Dr Robert”. In fact, so similar in style are some of these songs that Yesterday and Today, an LP released only in the USA between Rubber Soul and Revolver, combines leftover tracks and singles from the former with four tracks from the latter without creating a noticeably jarring effect.

And yet these two albums sit on opposite sides of a gulf. Sure, Rubber Soul has a sitar on it, but there is nothing really Indian in the arrangement or playing. Rubber Soul was written and recorded after Lennon and Harrison first encountered LSD, but there is no song on the album which tries to capture the experience in sound though it makes itself felt, tentatively, in some of the lyrics. Rubber Soul was written and recorded whilst Paul McCartney was living a “Bohemian” lifestyle, but this is reflected only conservatively in his songs. Revolver, however, is characterised by the presence of all three of these influences, fully devoured and digested.

Another key difference between the two albums is that, whereas Rubber Soul is filled like the Beatles' earlier work with songs celebrating sex and sexual love, on Revolver all three songwriters have gone “beyond” writing simple love songs. That is not to say that they had lost interest in sex – Paul McCartney's authorised biography and its account of sexual escapades in Swinging London make that much clear – but rather that there was no longer such a thrill in writing about it in metaphor. There are no songs about “holding hands”, “driving”, “one night stands”, or even anything as outright suggestive as “Girl”. Instead there are explorations of loneliness (“Eleanor Rigby”, “For No One”), innocence (“Yellow Submarine”, “Here, There and Everywhere”4), and the dream-state (“Tomorrow Never Knows”, “I'm Only Sleeping”). Only “Dr Robert” really carries on the practice of double-entendre, but for the purpose of talking about drugs rather than sex. Perhaps this is also attributable to the fact that both Lennon and McCartney were in steady but unsatisfying relationships, and therefore had more complex feelings to work out: the songs on Revolver are about relationships in their last throes.

Unfortunately, even if critics of the day had recognised that Revolver was a vast leap forward from Rubber Soul, they would soon be distracted from their admiration by its showboating and much-esteemed successor, Sgt. Pepper's Lonely Hearts Club Band and its associated single, “Strawberry Fields Forever”/“Penny Lane”. Sgt. Pepper needs little summation: almost everybody who owns any records owns a copy of that album and in 1967 it had a powerful global impact with serious critics, the underground and, for want of a better word, the “overground” - meaning almost everybody else. People tell stories about hearing Sgt. Pepper for the first time which sound more like accounts of religious epiphany: there are almost no similar Revolver stories. A leap forward Revolver may have been, but it didn't knock people for six like Sgt. Pepper.

What is perhaps most important about Revolver, however, is the very way in which it was created, with new influences being absorbed and then shared. This was the last album which would demonstrate so completely the band's often noted “telepathy”5. In this instance, they were able to separate and explore their own interests, with their own circles of friends, but without every losing the underlying connection with the “hive mind”. People talked, throughout 1965 and 1966, of the imminent breakup of the Beatles, but the band laughed them off: "I've just read about how I'm leaving the group, as well. What can you do about that!”

This period of expansion saw Lennon, McCartney and Harrison absorb a range of new influences and promptly feed them back to the others. This meant that, even without any special interest in Indian music, Lennon was nonetheless able to draw upon its structures and sounds to shape his own music. Although Paul McCartney did not himself take LSD until much later in 19667, he was able to evoke key aspects of the experience when writing “Yellow Submarine” in May that year8, and when helping to shape that quintessential evocation of an LSD trip, “Tomorrow Never Knows”. After 1966, for whatever reason, they were less able or less willing to share experiences and discoveries in this way, and began really to drift apart.

Part of the appeal of Revolver might be in the very fact that it really represents the Beatles as not only great songwriters and performers, but as the quintessential “gang”. The album has at least one which is a true group effort, and to which all three songwriting Beatles contributed substantially - namely, “Taxman”. Everyone brings something fascinating to the mix - even Ringo Starr, whose drumming on “Rain” and “Tomorrow Never Knows” is astounding, and original. By contrast, by the time they started work on Sgt. Pepper at the end of the same year, a real sense of ownership of particular songs had emerged. They continued to share ideas, but never again intermingled them to the same degree as in the songs on Revolver.

Q : What’s going to come out of the next recording sessions?
John Lennon : Literally anything. Electronic music, jokes... one thing’s for sure – the next LP is going to be different. (NME, 11/3/66, p.3)

So, Rubber Soul is the last gasp of the “loveable mop- tops” whilst Revolver, a more varied and complex work, is the birth of The Beatles as fully-fledged rock stars. It is a futuristic album, in fact, which might explain its slow increase in reputation over the distinctly “period” Rubber Soul, as the rest of the world has caught up with it. The following chapters expand upon the idea that Revolver represents a synthesis of Lennon, McCartney and Harrison's three distinct avenues of interest during 1965-66, namely LSD, India and Art.

The Beatles Lyrics

Artist : John Lennon, Paul McCartney, George Harrison, Ringo Starr.
Band : The Beatles


Please Please Me - 1963

I Saw Her Standing There
Misery
Anna (Go To Him)
Chains
Boys
Ask Me Why
Please Please Me
Love Me Do
P.S. I Love You
Baby It's You
Do You Want To Know A Secret
A Taste Of Honey
There's A Place
Twist And Shout

With The Beatles - 1963

It Won't Be Long
All I've Got To Do
All My Loving
Don't Bother Me
Little Child
Till There Was You
Please Mister Postman
Roll Over Beethoven
Hold Me Tight
You Really Got A Hold On Me
I Wanna Be Your Man
Devil In Her Heart
Not A Second Time
Money (That's What I Want)

A Hard Day's Night - 1964

A Hard Day's NightI Should Have Known Better
If I Fell
I'm Happy Just To Dance With You
And I Love Her
Tell Me Why
Can't Buy Me Love
Any Time At All
I'll Cry Instead
Things We Said Today
When I Get Home
You Can't Do That
I'll Be Back

Beatles For Sale - 1964

No ReplyI'm A Loser
Baby's In Black
Rock And Roll Music
I'll Follow The Sun
Mr. Moonlight
Medley: Kansas City / Hey, Hey, Hey, Hey
Eight Days A Week
Words Of Love
Honey Don't
Every Little Thing
I Don't Want To Spoil The Party
What You're Doing
Everybody's Trying To Be My Baby

Help! - 1965

Help!The Night Before
You've Got To Hide Your Love Away
I Need You
Another Girl
You're Going To Lose That Girl
Ticket To Ride
Act Naturally
It's Only Love
You Like Me Too Much
Tell Me What You See
I've Just Seen A Face
Yesterday
Dizzy Miss Lizzy

Rubber Soul - 1965

Drive My CarNorwegian Wood (This Bird Has Flown)
You Won't See Me
Nowhere Man
Think For Yourself
The Word
Michelle
What Goes On
Girl
I'm Looking Through You
In My Life
Wait
If I Needed Someone
Run For Your Life

Revolver - 1966

TaxmanEleanor Rigby
I'm Only Sleeping
Love You To
Here, There And Everywhere
Yellow Submarine
She Said, She Said
Good Day Sunshine
And Your Bird Can Sing
For No One
Doctor Robert
I Want To Tell You
Got To Get You Into My Life
Tomorrow Never Knows

Sgt. Pepper's Lonely Hearts Club Band - 1967

Sgt. Pepper's Lonely Hearts Club BandWith A Little Help From My Friends
Lucy In The Sky With Diamonds
Getting Better
Fixing A Hole
She's Leaving Home
Being For The Benefit Of Mr. Kite!
Within You Without You
When I'm Sixty Four
Lovely Rita
Good Morning, Good Morning
Sgt. Pepper's Lonely Hearts Club Band (Reprise)
A Day In The Life

Magical Mystery Tour - 1967

Magical Mystery TourThe Fool On The Hill
Flying
Blue Jay Way
Your Mother Should Know
I Am The Walrus
Hello, Goodbye
Strawberry Fields Forever
Penny Lane
Baby, You're A Rich Man
All You Need Is Love

The Beatles (The White Album) - 1968

Back In The U.S.S.R.Dear Prudence
Glass Onion
Ob-La-Di, Ob-La-Da
Wild Honey Pie
The Continuing Story Of Bungalow Bill
While My Guitar Gently Weeps
Happiness Is A Warm Gun
Martha My Dear
I'm So Tired
Blackbird
Piggies
Rocky Raccoon
Don't Pass Me By
Why Don't We Do It In The Road?
I Will
Julia
Birthday
Yer Blues
Mother Nature's Son
Everybody's Got Something To Hide Except Me And My Monkey
Sexy Sadie
Helter Skelter
Long, Long, Long
Revolution 1
Honey Pie
Savoy Truffle
Cry Baby Cry
Revolution 9
Good Night

Abbey Road - 1969

Come TogetherSomething
Maxwell's Silver Hammer
Oh! Darling
Octopus's Garden
I Want You (She's So Heavy)
Here Comes The Sun
Because
You Never Give Me Your Money
Sun King
Mean Mr. Mustard
Polythene Pam
She Came In Through The Bathroom Window
Golden Slumbers
Carry That Weight
The End
Her Majesty

Let It Be - 1970

Two Of UsDig A Pony
Across The Universe
I Me Mine
Dig It
Let It Be
Maggie Mae
I've Got A Feeling
One After 909
The Long And Winding Road
For You Blue
Get Back

Past Masters. Volume One - 1988

Love Me DoFrom Me To You
Thank You Girl
She Loves You
I'll Get You
I Want To Hold Your Hand
This Boy
Komm, Gib Mir Deine Hand
Sie Liebt Dich
Long Tall Sally
I Call Your Name
Slow Down
Matchbox
I Feel Fine
She's A Woman
Bad Boy
Yes It Is
I'm Down

Past Masters. Volume Two - 1988

Day TripperWe Can Work It Out
Paperback Writer
Rain
Lady Madonna
The Inner Light
Hey Jude
Revolution
Get Back
Don't Let Me Down
The Ballad Of John And Yoko
Old Brown Shoe
Across The Universe
Let It Be
You Know My Name (Look Up The Number)

Live At The BBC. Disk 1 - 1994

Beatle GreetingsFrom Us To You
Riding On A Bus
I Got A Woman
Too Much Monkey Business
Keep Your Hands Off My Baby
I'll Be On My Way
Young Blood
A Shot Of Rhythm And Blues
Sure To Fall (In Love With You)
Some Other Guy
Thank You Girl
Sha La La La La!
Baby It's You
That's Alright (Mama)
Carol
Soldier Of Love
A Little Rhyme
Clarabella
I'm Gonna Sit Right Down And Cry (Over You)
Crying, Waiting, Hoping
Dear Wack!
You Really Got A Hold On Me
To Know Her Is To Love Her
A Taste Of Honey
Long Tall Sally
I Saw Her Standing There
The Honeymoon Song
Johnny B. Goode
Memphis, Tennessee
Lucille
Can't Buy Me Love
From Fluff To You
Till There Was You

Live At The BBC. Disk 2 - 1994

Crinsk Dee NightA Hard Day's Night
Have A Banana!
I Wanna Be Your Man
Just A Rumour
Roll Over Beethoven
All My Loving
Things We Said Today
She's A Woman
Sweet Little Sixteen
1822!
Lonesome Tears In My Eyes
Nothin' Shakin'
The Hippy Hippy Shake
Glad All Over
I Just Don't Understand
So How Come (No One Loves Me)
I Feel Fine
I'm A Loser
Everybody's Trying To Be My Baby
Rock And Roll Music
Ticket To Ride
Dizzy Miss Lizzy
Medley: Kansas City / Hey, Hey, Hey, Hey
Set Fire To That Lot!
Matchbox
I Forgot To Remember To Forget
Love These Goon Shows!
I Got To Find My Baby
Ooh! My Soul
Ooh! My Arms
Don't Ever Change
Slow Down
Honey Don't
Love Me Do

Anthology 1 - 1995

Free As A BirdThat'll Be The Day
In Spite Of All The Danger
Hallelujah, I Love Her So
You'll Be Mine
Cayenne
My Bonnie
Ain't She Sweet
Cry For A Shadow
Searchin'
Three Cool Cats
The Sheik Of Araby
Like Dreamers Do
Hello Little Girl
Besame Mucho
Love Me Do
How Do You Do It
Please Please Me
One After 909
Lend Me Your Comb
I'll Get You
I Saw Her Standing There
From Me To You
Money (That's What I Want)
You Really Got A Hold On Me
Roll Over Beethoven
She Loves You
Till There Was You
Twist And Shout
This Boy
I Want To Hold Your Hand
Moonlight Bay
Can't Buy Me Love
All My Loving
You Can't Do That
And I Love Her
A Hard Day's Night
I Wanna Be Your Man
Long Tall Sally
Boys
Shout
I'll Be Back
You Know What To Do
No Reply
Mr. Moonlight
Leave My Kitten Alone
Eight Days A Week
Medley: Kansas City / Hey, Hey, Hey, Hey

Anthology 2 - 1996

Real LoveYes It Is
I'm Down
You've Got To Hide Your Love Away
If You've Got Trouble
That Means A Lot
Yesterday
It's Only Love
I Feel Fine
Ticket To Ride
Yesterday
Help!
Everybody's Trying To Be My Baby
Norwegian Wood (This Bird Has Flown)
I'm Looking Through You
12-Bar Original
Tomorrow Never Knows
Got To Get You Into My Life
And Your Bird Can Sing
Taxman
Eleanor Rigby
I'm Only Sleeping
Rock And Roll Music
She's A Woman
Strawberry Fields Forever
Penny Lane
A Day In The Life
Good Morning, Good Morning
Only A Northern Song
Being For The Benefit Of Mr. Kite!
Lucy In The Sky With Diamonds
Within You Without You
Sgt. Pepper's Lonely Hearts Club Band (Reprise)
You Know My Name (Look Up The Number)
I Am The Walrus
The Fool On The Hill
Your Mother Should Know
Hello, Goodbye
Lady Madonna
Across The Universe

Anthology 3 - 1996

A BeginningHappiness Is A Warm Gun
Helter Skelter
Mean Mr. Mustard
Polythene Pam
Glass Onion
Junk
Piggies
Honey Pie
Don't Pass Me By
Ob-La-Di, Ob-La-Da
Good Night
Cry Baby Cry
Blackbird
Sexy Sadie
While My Guitar Gently Weeps
Hey Jude
Not Guilty
Mother Nature's Son
Rocky Raccoon
What's The New Mary Jane
Step Inside Love / Los Paranoias
I'm So Tired
I Will
Why Don't We Do It In The Road?
Julia
I've Got A Feeling
She Came In Through The Bathroom Window
Dig A Pony
Two Of Us
For You Blue
Teddy Boy
Medley: Rip It Up / Shake, Rattle And Roll / Blue Suede Shoes
The Long And Winding Road
Oh! Darling
All Things Must Pass
Mailman, Bring Me No More Blues
Get Back
Old Brown Shoe
Octopus's Garden
Maxwell's Silver Hammer
Something
Come Together
Come And Get It
Ain't She Sweet
Because
Let It Be
I Me Mine
The End

The Beatles 1 - 2000

Love Me DoFrom Me To You
She Loves You
I Want To Hold Your Hand
Can't Buy Me Love
A Hard Day's Night
I Feel Fine
Eight Days A Week
Ticket To Ride
Help!
Yesterday
Day Tripper
We Can Work It Out
Paperback Writer
Yellow Submarine
Eleanor Rigby
Penny Lane
All You Need Is Love
Hello, Goodbye
Lady Madonna
Hey Jude
Get Back
The Ballad Of John And Yoko
Something
Come Together
Let It Be
The Long And Winding Road

Let It Be... Naked - 2003

Get BackDig A Pony
For You Blue
The Long And Winding Road
Two Of Us
I've Got A Feeling
One After 909
Don't Let Me Down
I Me Mine
Across The Universe
Let It Be

Love - 2006

BecauseGet Back
Glass Onion
Eleanor Rigby
Julia
I Am The Walrus
I Want To Hold Your Hand
Drive My Car
The Word
What You're Doing
Gnik Nus
Something
Blue Jay Way
Being For The Benefit Of Mr. Kite!
I Want You (She's So Heavy)
Helter Skelter
Help!
Blackbird
Yesterday
Strawberry Fields Forever
Within You Without You
Tomorrow Never Knows
Lucy In The Sky With Diamonds
Octopus's Garden
Lady Madonna
Here Comes The Sun
The Inner Light
Come Together
Dear Prudence
Cry Baby Cry
Revolution
Back In The U.S.S.R.
While My Guitar Gently Weeps
A Day In The Life
Hey Jude
Sgt. Pepper's Lonely Hearts Club Band (Reprise)
All You Need Is Love

Across The Universe [Soundtrack] - 2007

GirlHold Me Tight
All My Loving
I Want To Hold Your Hand
With A Little Help From My Friends
It Won't Be Long
I've Just Seen A Face
Let It Be
Come Together
If I Fell
Dear Prudence
Flying
Blue Jay Way
I Am The Walrus
Being For The Benefit Of Mr. Kite!
Because
Something
Oh! Darling
Strawberry Fields Forever
Revolution
While My Guitar Gently Weeps
Across The Universe
Helter Skelter
Happiness Is A Warm Gun
Blackbird
Hey Jude
Don't Let Me Down
All You Need Is Love
Lucy In The Sky With Diamonds

"Let It Be" is a song by The Beatles, released in March 1970 as one, and as the title track from their album Let It Be. Although credited to Lennon / McCartney in general received a Paul McCartney composition.

Album reached # 1 in the United States, Australia, Italy, Norway and Switzerland and # 2 in the UK. It was the final single released by the Beatles while the band is still active. Both the album Let It Be and the only one that is long and winding road that is released after the band announced their break-up.

INSPIRATION
McCartney says he has the idea "Let It Be" after he dreamed about his mother during the tense period of sessions for The Beatles (the "White Album"). McCartney explained that his mother-who died of cancer when McCartney was fourteen-the inspiration for "Mother Mary" lyric. McCartney then said, "It was good to visit with her again. I feel very blessed to have a dream. So that I can write 'Let It Be'." He also said in an interview later about the dream that his mother had told him, " That will all be good, leave it. "


THEMES PIANO
Piano is the main theme of the Let it be, in C Major, introducing the song, but wise in the series of strong cadences, which consists of four healthy normal-bar triads increased above the left hand piano notes tempered single keystrokes, all the harmonic drive, from the start sense of confidence arises (first measure), for the melancholic and anxious sentiment (second and third step) and return to a certain gratitude, self-confident attitude (last measure).

The effects of defense gloomy mood achieved by McCartney in a mixture of primary 6. And 7. Interval, when playing chords F and C, in the middle of the theme. Harmony is as circumscribed by bass tones, inversions is also a feature worth mentioning is often in the composition, which ultimately form the settling of the tune's emotional intent.

RECORDINGS
Let It Be recording took place at Twickenham Film Studios on 3 January 1969, where The Beatles had started the previous day, which became Let It Be film. During this stage, only the group's film on a mono recording is used for syncing to film camera, and does not create multi-track recording to release. Recorded one take, only with Paul McCartney on piano and vocals. Business groups that first made on 8 January. Continue to work on the track throughout the month. Multi-track recording began on 23 January in the Apple Studio.

Master taking recorded on 31 January 1969, as part of the 'Apple Studio performance' to Get Back project. McCartney played piano (a Blüthner Flügel of Leipzig), Lennon played bass, Billy Preston played organ and George Harrison, Ringo Starr and the role they assumed in the conventional guitar and drums. This is one of the two performances of the song. The first version, which lasted 27-A, will serve as the basis for all officially released versions of the song. The other version, take 27-B, conducted as part of a 'live studio performance', along with "Two of Us" and "The Long Road and winding." This performance, in which Lennon and Harrison's harmonised with McCartney and Harrison lead vocal contribution to the soft guitar solo, it can be seen in the film Let It Be.

On 30 April 1969, Harrison overdubbed a new guitar solo in the capture of 31 January that year. He overdubbed solo on 4 January 1970. First solo overdub the original one used to release, and the second is used to overdub solo album release of the original. Some fans believe that one of two versions of the song-based foundation that, in general, different guitar solos, but also some differences in the overdubs and Mixes.