Quoted from Recording Sessions: p.147
Friday 24 January. Apple Studios, 3 Savile Row, London W1: time unknown. Recording: 'On Our Way Home' (working title of 'Two Of Us'); 'Teddy Boy'; 'Maggie May'; 'Dig It' (version 1); 'Dig A Pony'; 'I've Got A Feeling. P: George Martin? E: Glyn Johns. 2E: Neil Richmond.
'On Our Way Home', later re-titled 'Two Of Us', was a new Paul McCartney song, which - in addition to being recorded by The Beatles - Paul later "gave" to a trio of New Yorkers collectively called Mortimer for their debut Apple single release at the end of June, although their version failed to materialise and Mortimer never did have any product released by Apple. One of The Beatles' takes of the song from this day was included on the unissued Get Back LP, with a little chat from Paul concluding, "And so we leave the little town of London, England."
Between takes of 'On Our Way Home', the Beatles burst into a 38-second, hammed-up version of 'Maggie Mae', the traditional Liverpool song about an infamous local lady of the night. This was included, in its entirety, on both the Get Back and Let It Be albums, with the composer credit reading "Trad. arr. Lennon/McCartney/Harrison/Starkey".
Saturday 25 January. Apple Studios, 3 Savile Row, London W1: time unknown. Recording: 'Untitled Jamming'; 'On Our Way Home' (working title of 'Two Of Us'); 'Bye Bye Love'; 'George's Blues (Because You're Sweet And Lovely)'(working title of 'For You Blue'); 'Let It Be'. P: George Martin? E: Glyn Johns. 2E: Alan Parsons.
'Untitled Jamming' was just that: a very brief and entirely instrumental piece. 'Bye Bye Love' was a quick, jammed recording of the 1957 Everly Brothers classic, John and Paul sharing the lead vocals during a break from the taping of 'Two Of Us'. George Harrison recorded a version of this song for his 1974 solo album Dark Horse.
Friday 31 January. Apple Studios, 3 Savile Row, London W1: time unknown. Recording: 'The Long and Winding Road'; 'Lady Madonna'; 'Let It Be'; 'On Our Way Home' (working title of 'Two Of Us'). P: George Martin. E: Glyn Johns. 2E: Alan Parsons.
The "AppleStudio Performance" - as described on the tape boxes - in other words, the final recording of those numbers unsuitable for the rooftop show: two piano songs and one acoustic number. The Beatles also ventured into a jam of 'Lady Madonna' which, aLthough later mixed by Glyn Johns as potential LP track, was barely releasable by any stretch of the imagination. For these recordings the Beatles and Billy Preston arranged themselves into stage formation and around a platform. Paul was the focus of attention throughout, as can be seen in the Let It Be film.
Using take numbers from the film clapperboard, the group recorded three takes (10-12) of 'Two Of Us', seven takes (13-19) of 'The Long And Winding Road' and nine of 'Let It Be' (20-27, 27 consisting of two audio takes). [...] The Let It Be LP itself used all three songs, the above two plus take 12 of 'Two Of Us', although by that time two of the songs had been substantially overdubbed: 'Let It Be' on 30 April 1969 and 4 January 1970 and 'The Long And Winding Road' on 1 April 1970. [...]
Overdubbing, of course, somewhat defeated the Get Back principle, nut - it seemed - the Beatles were already on the verge of abandoning their ideas. After an excellent take of 'Let It Be' (take 25), John announced, "OK, let's track it," then sharply drew in his breath and added, in a sarcastic, slap-my-wrist-fashion, "You bounder, you cheat!"
Monday 10 March. Olympic Sound Studios, 117 Church Road, London SW13: time unknown. Stereo mixing: [...] 'On Our Way Home' (working title of 'Two Of Us'); [...] P: George Martin? E: Glyn Johns. 2E: unknown.
It was now six weeks since the end of the Get Back sessions, six weeks in which, it seems, the Beatles had all but washed their hands of the entire project. One day in early March, John Lennon and Paul McCartney called Glyn Johns into Abbey Road and pointed to a big pile of eight-track tapes: the result of those ten January days at Savile Row. "Remember that idea you had about putting together an album?," they asked. "There are the tapes, go and do it."
As one might well imagine, this was a stiff undertaking for Johns: he was being given a free hand to compile the new Beatles album. Armed with the Apple tapes, Glyn booked time at his favourite studio, Olympic Sound, and began assembling the Get Back album. At least one aspect was easy: it was to be stereo only, mirroring the pro-stereo movement which escalated at the end of the sixties, leading to the swift, virtual extinction of mono recordings.
Tuesday 11 March. Olympic Sound Studios, 117 Church Road, London SW13: time unknown. Stereo mixing: [...] 'On Our Way Home' (working title of 'Two Of Us'); [...] P: George Martin? E: Glyn Johns. 2E: unknown.
More Get Back mixing.
Friday 25 April. Abbey Road, Room 4: 11.30-12.30pm. Mono mixing: [...] 'On Our Way Home' (working title of 'Two Of Us')(remix 1). P: n/a. E: Peter Mew. 2E: Chris Blair.
A rough mono mix, for acetate cutting purposes, of the 31 January Beatles recording of 'Two Of Us', in order that Paul could present the song to the New York trio Mortimer.
Posted: 9 apr 2012