Liddypod 24: The Beatles Get Back

Get Back With Peter Jackson’s Get Back having streamed on Disney + last weekend, Bedford and Beesley’s Beatles banter this time is their take on the series. What did they think? Find out now

Transcript

SPEAKER_00 0:07

Welcome to Liddy Pod, Beatles Panzer with Bedford and Beasley.

SPEAKER_01 0:17

Dave, here we are with I think this is Liddy Pod 24, if I if I'm not mistaken.

SPEAKER_02 0:24

It certainly is, and uh my dog has just entered the room just to confirm that Roxy, is this episode 24? You sound a bit rough. Episode 24, yeah. It's a great response to um the competition for the Bill Zygmunt book. Um so we'll be uh sending out the winners details soon. Um but of course, the big event is of course I went to see a Frankie Valley tribute band last night. Dave, you tease us, we know what the big event is. Yeah, well I did actually, and they were very good. But now this whole uh thing, time for Thanksgiving weekend in America is the get back series, Peter Jackson's epic of how to take was it 60 hours film footage, 150 hours of audio, and put that into a little three-part series. When I say little, I mean it's it's six and a bit hours. Um but we've been waiting for this for decades, for decades.

SPEAKER_01 1:23

Yeah, this is the thing, isn't it, Dave? Because you know, it's like every so often something comes along, doesn't it, where you think, well, I thought everything had been discovered. You know, yeah, a piece of memorabilia comes about, you know, somebody's drumsticks or whatever, it doesn't matter. And you think, well, you know, everything's been discovered, and it probably hasn't. And in a sense, this is this is similar on a much, much bigger scale, isn't it?

SPEAKER_02 1:46

Well, it is because you know, we had the excitement of a few years back of eight days a week, um, which for me was an anti-climax. Um, I think there was a missed opportunity. So we're just thinking, is this going to be contrived? Because you've obviously there's only Paul and Ringo left. Um, is it going to be a bit revisionist, which the Beatles have been known to do in the past, or is there genuinely going to be something new in here? Um, and overall, I've got to say, thoroughly enjoyed it. There's so much in there, and that there was so much to learn just from those interactions. So overall, they've done a very, very good job with this.

SPEAKER_01 2:25

Now they have done a very good job, but let's it would be very remiss of us, Dave, and especially the Beatles detective that you are, to not get out, first of all, the couple of uh chronological errors at the at the start. So just just just take people through that. We're not criticising it, we're just saying, come on, this could have been better.

SPEAKER_02 2:44

You may not be criticising it, but I am. Oh, I'll tell you what. So you've got to have context at the start. That's fair enough, because this whole event of Get Back takes place in January 69, which is towards the end of their career. So you've got to set that up, and it's almost like it was an afterthought. So you start with uh the Quarrymen song In Spite of All the Danger, recorded in July 58, Liverpool docks, and it tells you it's 1956. Then you see John with the Quarrymen in 1957, and then you have Paul McCartney, age 14, joins the Quarrymen. Well no, he was 15. That's not a tricky thing to work out, and then 13-year-old George joins. No, he was 14. It's simple, very, very basic stuff. I think, why can't you get that right? And then the annoyances, uh mommy's soapbox now, so just you've been warned.

SPEAKER_01 3:45

You go for it, Dave. You go for it.

SPEAKER_02 3:48

So then they're talking about when Brian discovers the Beatles. So it's like you know, the Beatles played after Hamburg, played at the cavern many times. So then you see the footage of John Paul, George, and Ringo from August 1962 playing at the cavern, which fair enough, that's the only footage we've got. But then it says Brian discovers the Beatles at the cavern. Well, no, he discovered them. He went there in November 1961 when it's John Paul George and Pete. And we're almost 12 months later, when the only footage of the Beatles playing with Ringo is being shown. That's completely wrong. And you think, why can't you get the simple stuff like that right?

SPEAKER_01 4:28

Yeah, I mean, if you're gonna you're gonna spend that long, it's taken a long, long time. And it fundamentally, I think that you know, I think uh one single fundamental error was made at the very start with the very first date, and everything followed from there. It was almost like everything then became a a year out of synchronisation because of that day. But you're absolutely right, Dave. If you're gonna it almost felt like um they just tagged that on at the start to say, Oh, we better contextualise the story that we're telling, when in fact, you know, yeah, that was right to do, but once you get the wrong day first time round, then everything else follows, then everything else is gonna be wrong after that, doesn't it?

SPEAKER_02 5:05

Yeah, and and that's the problem, and you know, because Paul's gonna be heavily involved with the production of this, you know, he and Ringo Dan as producers. Um surely he, when he sees that, says, You've got that wrong. I was a year older than that. So what have they seen?

SPEAKER_01 5:24

It's it's almost like the the bit that was so obvious was so obvious that they didn't bother checking it, if you if you know what I mean, really. Um so but anyway, we we got that one out of the open day, you know, because I know it will it will annoy and has already annoyed people. I I got uh WhatsApp messages within about 10 minutes of it being shown from fellow tour guides to say, what's going on? Uh fortunately it didn't continue, did it? It got it got much, much better.

SPEAKER_02 5:53

Well, thankfully, once you they dealt with that stuff, um you then got into you know how the whole session started, and again, that that was interesting of them showing the Hey Jude video, and they'd done that at Twickenham Studios, and that's the first time they performed in front of an audience because obviously Eddie comes and joins them on the stage, and I think they quite like that idea, they must have missed that because from giving up touring in August 66, this is quite a gap, you know. You've gone over two years, and Paul references this later on that when they're talking about doing a live performance, they're a bit nervous, and you can understand that of they haven't performed together in front of an audience since August 66. So you can see that's sort of it's a nice idea because you're a band, that's what you want to do. Um, so that's how it set it up. They come up with this idea to have the sessions in Twickenham Studios where they've just done the Hey Dude, and do a rehearsal, and the plan is then get these new songs together, learn them, and then perform them live, and that becomes the album. So you get the TV show of watching them, how they're doing all that, get up with the new songs, and then possibly at the beginning they're saying, look at maybe doing two live shows, they look at different options of how they're gonna do that. So it in theory, it's a really good idea, but it straight away you can see it's a bit awkward because they're in this huge TV studio, gathered together in a small area, but there's cameras and microphones everywhere.

SPEAKER_01 7:43

I mean, I was about to say, I mean, a couple of things. They I'm gonna say their music had become more sophisticated in that period since they'd uh stopped touring and stopped performing live. So replicating that in a live context was obviously going to be more difficult. And also, you know, that sort of slightly not awkward, but but you know, they we we we see so many fly-on-the-wall type filming these days, don't we, that it's it's part of the way of life. But in those days, you know, they they were brought together with the intention of of doing live performances with all these cameras around them, no matter how many or how few there would have been. They were conscious of that. And the as big as they were, the pressure must have been quite quite amazing, really. Well, I think that's it.

SPEAKER_02 8:34

And maybe they were feeling that they had to do something different. Because again, you know, they have that conversation, you know, this is what we do, we record albums, we don't perform anymore. So it would be nice if we can work on these songs together on the basis of not that we can get in an orchestra here and all these other complex recording techniques, we've got to be able to learn them, but between the four of us, perform them live as well, and that's a different way of thinking to the way that they had been, the way you know the recordings got so so complex that with the technology then they would have been impossible to perform. So they've come up with you know a good format which is almost taken them back to basics, and it's it's interesting a number of times they reference Hamburg of you know that's where they learnt their their trade craft really on stage, live in front of an audience, and I think that's what they were wanting because by the end of their career, you know, they've been they'd done Shea Stadium and stuck out in the middle of this field away from all the crowds. What they were thinking of was I once you know they even say maybe we do it at the cavern, they wanted that intimacy with a crowd again, but were nervous of an intimacy with a crowd again, and it there's a lot of pressure on them to do that, and in just such a short space of time, to come up with 10, 14 songs, which they've learned together and know well enough to perform.

SPEAKER_01 10:09

Yeah, and uh, you know, it would have been interesting, no, not that we will ever be able to get this, but it would have been interesting to compare and contrast how that process would have taken place in the very early days, you know, when when they were with they were writing their songs and performing them live almost within days of uh and and it's you know the complexity of of the songs was obviously a factor, but it would have been really interesting to see how that changed. And you're absolutely right, Dave. I that was it might the hairs on my back and my neck stood up when Paul said he maybe he was slightly tongue-in-cheek, I don't know, he might not have been, but when he said maybe we should do this at the cavern, and can you imagine if they had?

SPEAKER_02 10:50

Well, of course, I mean Paul lived that didn't he when he came back in '99. Um, but I think that's that was one thing they always wanted to do, and George Martin wanted to do, of course, when they're doing the first album. Could recover the acoustics were awful. But I think that's what they wanted. Um I think no surprise, once Paul starts wings, the first thing he wants to do, lob everything in a van and go around very small places and play. Because I think they just lost touch so much with an audience that you think, well, do we just sit around for days and months on end and make records? When really, for most musicians, what they want to be doing is playing.

unknown 11:33

Yeah.

SPEAKER_01 11:34

And I suppose, I mean, I'm not a musician, but you know, most musicians start out. It's a being a musician is a performance craft, isn't it, really? And you know, whilst ultimately you want people to listen to you and and you know, everybody's not going to see you live, but that's where that's where you begin, isn't it? And that's where the the the the feeling and the vibe from the audience comes from. You can't feel that feeling and vibe from someone listening on a on a record or or streaming the song today as as as bands do. It's all about that live thing, isn't it? Really? And do you think do you think, Dave, in a in a sense, they did you get the sense from them that they regretted either stopping performing or regretted the idea that they were going to go back to do some live songs?

SPEAKER_02 12:23

I don't think they regretted stopping when they did. You know, by then in 66. They were bored because, you know, still they're doing what, 30, 35 minutes. You know, they used to doing hours and hours on stage and doing the same songs over and over again, just in a different city. All the screaming, all that kind of stuff. The fun had gone out a bit. You'd had all the stuff which, of course, that they mentioned there with the uh John's, you know, Beatles More Popular Than Jesus stuff going on. They'd had the awful time in Manila when they were lucky to get out of the place alive. I was thinking, why are we doing this? And apparently, you know, after the candlestick park on their last gig, George said, right, that's it, I'm not a Beatle anymore. Because he equates being a Beatle with playing live, and they become a studio band. But I think they they just lost the enjoyment of being a musician, you know, and because if you're writing songs, the whole thing, you want to perform them for other people to enjoy, and they couldn't do that, and so I they were trying to find something different and more creative, but have that pressure, and I think that was the thing we've told a few times, the pressure to do it in such a short space of time, that got to them, and that's when the arguments and the niggles started, and the tension sort of bubbled up a bit.

SPEAKER_01 13:53

I mean, the tension in some of those scenes is is palpable, isn't it? It's almost it's almost a bit cringy, really, because you could feel the tension between them, and you could you could almost see at any moment any one of them could just put their instrument down and say, I'm not doing this, you know. It did the tension was immense, wasn't it?

SPEAKER_02 14:12

Well, and and of course, that is what happened, and you could see that Paul's the one who's driving it forward, you know, and he he mentions a few times, you know, we need somebody here who says, Right, you've got to be in for nine o'clock and we're gonna do this and this, we've got to be methodical, we've got to set ourselves targets, and because there was no manager there to do it, he's the one who's trying to drive them forward, but it's not easy to do if you're within a group, you know, and he has that discourse, you know, that John was always the leader of the group, but John was very distracted with Yoko, um, he was never the most punctual, didn't like mornings, and so they'd wander in at different times of the day, and it would just be chaotic. Um, but on the other hand, there were times when you can see they're getting frustrated, and they just start jamming a song that they used to do years and years ago, and then suddenly you saw the fun, them enjoying themselves doing some of the old rock and roll songs, and you thought, there's that buzz, that's what they were looking to recreate, and I think that was great, just letting them do that, and they were getting the the fun bit of when they used to perform live with some of these songs.

SPEAKER_01 15:28

I I think you're absolutely spot on with that, Dave. And I remember you probably saw this yourself. I remember uh many years ago in the early 80s when uh Abbey Road uh studios opened up for visitors, and they had a they produced a uh a film of the Beatles playing at Abbey Road, and the one thing we we we went down as a group of tour guides, and I remember coming out and everyone saying, Wow, that was fantastic, but in the whole footage that they showed, there was no footage of them having a laugh. And you know, you put four Liverpool lads together, yeah, there's gonna be creative tensions, but they're gonna have a laugh, and and there was none of that there, and and I think in in the in the in in this, certainly in the first episode to get back, the it was almost like that joy had gone out of it, uh, but it was only when they actually reverted back to something they'd done a long time ago, you could actually see them sort of the shoulders dropped, they smiled, they they had fun.

SPEAKER_02 16:26

Yeah, and you know, they start clowning around and doing silly voices. Um, and what one of the nice bits was there's a number of songs which are original Lennon McCartney once from when they started writing songs together, which we've never heard before. And it's amazing that they can remember them. And it's not backs up my thing with my last book, The Country of Liverpool. The first three or four songs they say we wrote these back then, let's have a go, are all country songs, and you could see them having fun. And I love the fact that it's still one of my favourite songs, one after 909. It's always been a great, great song. They resurrect that one, and of course that ends up on the album because it's it's a really good song, and that was one of the earliest ones that they'd written, so that was a nice glimpse, and as you say, it's it's that joy, and as a band, you've got to be seen to be having fun and feel you're having fun, and when they stopped having fun, that's when you know at the end of the first episode, that's when things change, particularly between um well, and again, this is an interesting thing because it changes on screen between Paul and George a little bit, and then of course we get George walking out. Now, the way on screen that's developed is Paul is becoming sort of headmasterly, but he's talking to John and saying to John, no, could you just stop it just for a minute? You know, we need to do this. Then you see George putting his guitar down and walking out, you know, to see you around the clubs. Whereas actually, what we know happened was I don't think it was it was ever captured on film, but earlier that day, George had had a big argument with John, which led to the walkout, but that's not portrayed on there. So that gives the impression it was almost like Paul and George had had this thing, and George said, I'll play what you want me to play, or I won't play at all. And then Paul speaking to John, and then George walks out, and it just doesn't quite fit properly. But then you've got this big sense of drama. George walks out, goes back to Liverpool, and they can't get a hold of him. And the thing that really surprised me was John and Paul talking saying, Well, if George is gone, should we get Eric? I thought, hang on, your first reaction should be we've lost George. We're not the Beatles without George. How do we get him back? And I'll cause that eventually they get round to that discussion.

SPEAKER_01 19:10

But when you so that that little thing was a little bit strange for me, yeah, because you you know, I mean I suppose in one sense, and and they try to portray this in the film, don't they, with uh an image of a calendar and deadline dates approaching, and probably an element of that was we've got a deadline in the diary here, and this is you know, we can't just push it aside. I wonder if they were just looking for a quick solution to get them to that deadline. But yeah, you're absolutely right. You know, you do wonder why that was the first suggestion instead of let's get let's go as Peter George and get him back at the band, you know.

SPEAKER_02 19:48

Then obviously, you see them having their discussion, um, and eventually John Paul and Ringo decide they're gonna go and see George, and it the first one doesn't go well. But then at the beginning of the second episode, one of the most moving parts, which really I did not expect to see, George is not there, they're in the studio, and there's only Paul and Ringo, and like you know, Mal and Neil, the others are around. No sign of John. And so I was saying anybody heard from John as he coming in, and Paul just says, and then there was two, but then you realise his eyes are moistening up, he's welling up, and suddenly he's thinking this is the end. I didn't expect to see that at all, and he thought in a way, he was the guy who was trying to hold everything together after Brian had died, and he can see it starting to crumble and to unravel a bit, and the the camera just catches him with these moist eyes, and you think that actually got to him.

SPEAKER_01 20:58

It is it is a great series, isn't it though, Dave? I mean, all in all, you know, it's it is something that is people have been waiting for for a long time, it's been very well put together, uh albeit just a few little things that we mentioned at the start. Um, is this the definitive end of things that we're gonna see on the Beatles?

SPEAKER_02 21:20

If you look up definitive in the dictionary, it says, Don't believe this, it will never be right. You'll never have a definitive because you've still got an edited version. But for for this whole period in the Beatles uh time, I think on the whole, yeah, that obviously you've got that bit right. You know, you can see them when they move back into Savile Row. It's a much more intimate setting. They're happy. Obviously, George is back in. And I think for me, the the best thing this has shown is particularly how John and Paul, and then with with George and Ringo as well, develop songs. You know, at one point you just got Paul slapping his bass, toying with his little melody, and after a minute or so you think, I got that's get back. And then you see the song develop, or two of us which they're playing with all electric, and it still isn't working. And it takes episode three say, Oh, let's try it with the acoustic guitars and no bass. And suddenly it just sounds absolutely perfect. So you've seen them where they're tweaking with uh lyrics, his lyrics don't fit. And that for me is finally understanding how they wrote their songs together. It wasn't just sort of Paula, I've got three quarters of a song, John. What do you reckon? John, finish it off. It's not like that at all. You've got the basics of it, but then you see them musically developing it, and then saying, those words don't fit, and then scribbling it out and changing it as it goes. That for me was the most important thing of seeing that transition of starting with very, very basic stuff and coming up with yet again some more incredible songs, and even you know, they're trying to decide where they're gonna do the live show, if they're gonna do the live show, and even the day before, when they finally said they were gonna do the rooftop, they're still uming and aring whether they're actually gonna do it or not, and then of course, yeah, they do, and this this obviously it's it all builds up to this, this is what we're waiting for because we had that concept footage on the Let It Be film, the original film, but they've added in lots of lovely bits of talking to more people down on Saddle Row, you had the Jobsworth policeman coming in, and uh that kind of decision. But I think the nice bit of how it ends up is with Billy Preston being brought in and realizing he just popped in to see them because they've been friends since hamburger, and he he just fitted in so well, and I say, Do you want to do the album with us? And he says, Yeah, and then they have this discussion what are we gonna do? How do we pay him? Do we get him to join the band? So does he become the fifth Beatle? And he just fitted in so so well, and they got this amazing concert at the end, so it's it's been brilliantly put together. I'm off me soapbox now. I've had me little rant on the first bit, but I'll have to go through and watch it again a couple of times because there's so much in there.

SPEAKER_01 24:37

I think it is it's that type of thing, isn't it, where you watch it once and then you go back, and actually, when you watch it for the fourth or fifth time, you start seeing things that you didn't see on the on the first three times, you know, and uh uh that's that's a great thing. So uh it's on Disney Plus, um, and it is definitely well worth watch. And for uh Harden Beatles fans, it's gonna be it's gonna be the thing to watch and watch and watch again and see all these little nuances uh along the way. Uh it's good, isn't it, Dave?

SPEAKER_02 25:06

Yeah, it's nice to see him do. It's it's the biggest project obviously since anthology, really. Um so if you've got all those together, and you know, it's while I was having this conversation with a friend of mine, the Let It Be album is one that I rarely go back to to play again. And so deliberately, I watched the Let It Be film and then I played the Let It Be album and the Let It Be Naked version as well. Sort of forgetting there's some brilliant, brilliant stuff on there again. So it's it's rediscovering again. Now that I've seen how the songs came together, I'll listen to the album differently. So it did yes, it's been a really good experience.

SPEAKER_00 25:47

You're listening to Liddy Pod, Beatles Banter with Bedford and Beasley.

SPEAKER_01 25:52

Moving on, um, other news that has come about, uh, and certainly people who are listening from within Liverpool might be aware of this already. People from outside the city may or may not be aware of it, and that's uh the whole issue of uh a statue for Brian Epstein has moved on quite a lot in the last month or so.

SPEAKER_02 26:09

Well, it's great news because you know we've said for years, you know, if you've got a statute to the Beatles, fair enough, but there should be something for Brian because we all know if it wasn't for Brian, the Beatles would not have got out of Liverpool, and so finally it it's happening, and they've got Andy Edwards involved who did the great four Beatles statues down at the pier head, so it'll be good, it'll be good to see. And now we know there's we've seen the maquette, we've now got the idea of what it's going to be like, and it looks like the funding is now coming together as well, so yeah, really excited about it.

SPEAKER_01 26:44

Yeah, and you've got to take your hat off, haven't you, to those people who've been, you know, battling away, working away, getting the funded over the years, who've done a really, really good job in in making this come about because you know, people think, oh, it's a statue, you just get the money together and you you stick it up, but it's far more complex than that. And and there's the you know, there's a small group of people who have been working very hard to make this happen, hasn't it?

SPEAKER_02 27:07

Yeah, and that's how these things happen, you know, just get some fans together, and you think, right, I'm passionate about that, I want to do that. You know, like I was able to do with the Saving Ringo's birthplace at Madrin Street, got little group together of us, and we did the campaign. And so when fans do this and it catches on, you think, yeah, this is right, this is this is what it should happen. And yeah, Brian's been deserving of a statue um for so so long, and it's gonna be really nice to see it and for him to get that sort of recognition. Um because of course, again, referencing uh I can't say getting back to get back, it's a bit clumsy that then, doesn't it? Yeah, so we we look at that, you know, one of the big things was was when Brian died and they've got no manager, they're struggling. You know, what do they do? And they said, We're not gonna have another manager, though. Interestingly, just every now and again there's little references to Alan Klein, and John's been having little meetings with Alan Klein while they're doing these get back sessions, and of course that's what ends up with you know the eventual split. But Brian, even though they they'd stopped touring, they still needed him to be the boss, and just to give him some structure and say, right, this is what we're doing, here's the list, you do that, you do that. Once Brian wasn't there, that caused all kinds of of chaos. So even if maybe he felt by 67 he wasn't doing as much, he was still needed, and for me it's always the the biggest sadness is that you know maybe he would have prolonged the career of the Beatles, but he's never got to see the legacy, you know, because he should still be around now, and to see that you know, 50 years after they've broken up, we're still talking about them. So the the man deserves this. Um and yeah, hopefully it'll be another good tourist attraction as well. Get him the recognition he deserves.

SPEAKER_01 29:18

Yeah, you're absolutely right, Dave. I mean, I I mentioned there's a small group. I the person I know involves Marie Darwin, and she's been very involved from the very outset and has been tirelessly working at this, and it's gonna be located, isn't it, in in Whitechapel, uh near to uh where the Nemes uh building was. Sadly, that building uh is not there any longer. Another building that uh has gone, but it'll be nice because uh when when Beatle fans come to Liverpool, um you know if if they if they work hard enough they can find out where the the NEMS building was. But it is, it's like a lot of places in the geography changes, and and you know, even though it's it's not that long ago the building disappeared, it's still hard now to remember what it was like. So to have the statue in that vicinity will will be really good.

SPEAKER_02 30:07

And it's nice then you know you'll be able to recreate that first walk that Brian did, you know, see well, that's where his name store was, and it you're literally just one round the corner and you're in Matthew Street, and that's what he was surprised at the first time he went to the cavern, how close it was, and it just adds nice that just that little area you walk down bottom of Matthew Street, go past the White Star pub, and you'll be there where Nemes was. Go round the corner, you've got the old Hesse's Elder Rugby statue, hanger left, and you're back at Matthew Street, and it's a lovely little walk, that one, just for some very significant little places, yeah.

SPEAKER_01 30:44

It is, and and the thing that gets me, it's it's you know, when you you think about it geographically, NEMS and the Cavern Club were very close in terms of culture, everything else, for Brian's point of view, that was a that was a well might might as well be on the other side of the world, really, you know, but not that two-minute walk.

SPEAKER_02 31:03

Well, it was, yeah, because of course he was more inclined towards the classical music. So, you know, going down to the cavern was not his thing. And when he first went, you know, and because he was always immaculately dressed, he stood out. I mean, there'd be other people like in their office gear and stuff, but they tend to be. I mean, Brian was one of those people, I think he was born aged 30. He just always looked old, yeah. He was only 32 when he died. He wasn't that much older than uh than the Beatles. Um, but yeah, I think that that was his big surprise, was how close this little world was, and yet it was it was a world away uh for him. He knew nothing really of that little culture.

SPEAKER_00 31:46

This is Liddy Pod, Beatles banter with Bedford and Beasley.

SPEAKER_01 31:50

So, Dave, uh, we've kind of covered a lot of ground there. Get back and the Brian Epstein statue. We'd love to hear from any any of you that that have uh have watched Get Back, uh, you know, what your views are. Tell us. I mean, and and what I'd love to hear, Dave, is not just people's views on it, but there's so much footage there. As we were saying before, there's gonna be things you miss, little nuances, little actions, little glances. If there's anything like that, let us know. Go to Liddypool.com and uh and let us know what what your impressions of it was, what you got out of it, and anything that you think we've missed along the way, that'd be great to hear.

SPEAKER_02 32:30

Yeah, exactly. You know, and it's it's one of those, it's gonna be discussed for a long time. And because there is so much over six hours, it is gonna need a few views to look through it, but it'll also it'll raise other things, and people then have differences of opinion. What's that meant? Is that what they were getting off their art? Is that where that started? And there's always gonna be questions, and that that's that's the beauty of it. I mean, that's why I don't think we'll ever get a definitive because a lot of it then is subjective, and that's how it should be. You know, we should be able to say, well, here's the facts of this, that gets us that far. But unless we're actually inside their heads, we can never say exactly well, that's what they meant. Or I think we've been sort of left with sort of a negative view of the Let It Be project. I think this is a better, even though it's a few negative points, I think it was a better, more positive, more upbeat feeling after watching this. And thinking, actually they could have kept going. You could see that musically when it worked, it it was geniuses of work.

SPEAKER_01 33:38

Now, Dave, one thing we need to do before we finish in Liddypod 23, we had a competition. So name it LiddyPod24. Uh we were well remind people of of what we were talking about in Liddy Pod 23 and and the competition. We've got a winner, yeah.

SPEAKER_02 33:53

So it's uh talking about Bill Zygmunt's book that um I've done with him, all his photographs. Um, and we've had some great entries. Thank you so much for uh yeah, of course it was Austin Reids, that's where Bill first photographed the Beatles. So uh well done for listening to everybody. And um, we'll let the winners know exactly who they are, and it won't be somebody with my surname, it's not a fix, it is a genuine thing, honest.

SPEAKER_01 34:18

It's never a fix. Dave, lovely to speak to you as always. Uh hope you've enjoyed listening to Liddypod 24. And if you uh if you want to go back and listen to any of the other previous Liddypods, uh, Liddypod.com is the place to go to. You'll find everything there and give us your views on the get back uh series as well. Dave, good to speak to you.

SPEAKER_02 34:36

Yep, we'll get back to some other Beatles stuff now.

SPEAKER_00 34:39

Oh you've been listening to Liddy Pod, Beatles Panther with Bedford and Beasley.