(no subject)
january 10th, 1969
10.0- dialogue
[optional sulpy]Dick James [...] talks about Mary Hopkin's publishing, and the Irving Mills catalog of classic songs that Northern Songs has acquired [...].
MICHAEL: Is this the catalog that’s just gone on sale?
DICK JAMES: It’s the one we just bought.
MICHAEL: Oh, you bought.
DICK JAMES: Yeah.
MICHAEL: Oh, great.
DICK JAMES: For Northern Songs. [long pause; Paul whistling] That includes Paul and John. And I think-
PAUL: [deliberate] Just about.
DICK JAMES: What are you talking about, “just about”?
PAUL: Nothing, uh-no comment.
DICK JAMES: Very substantially, sir.
PAUL: [withering] Yes, right, okay. [quiet] We’ll have a lunch on it, then.
10.72 it's only make believe
[optional sulpy]Michael fears that George having left in the fashion that he did will make it difficult for him to return to the group. Neil disagrees, noting that the weekend meeting that is already planned will give George the opportunity to rejoin. Neil and George Martin then go on to describe the problems that George faces within the group. Their perception is that John and Paul consistently team up against George, and that they don’t offer him enough freedom within their compositions. Neil is quite sympathetic to George’s problem, pointing out that even a few months in such a position would drive anyone to the breaking point.
MICHAEL: The trouble is, once you leave, it’s very hard to come back.
NEIL: Not really. We’ll all have to meet him on Sunday, anyway. So he could be back, then. No, really, the box that George is in is, um-it’s him versus John and Paul when it comes to what he’s got to do and what he has to play.
GEORGE MARTIN: And there’s the songwriting. Because they’re a songwriting team, and he’s-he’s his own team. And if [inaudible; drowned out by John’s and Paul’s voices] it’s tough.
MICHAEL: Yes, but-John and Paul aren’t writing together much anymore, are they, really?
GEORGE MARTIN: No, but nevertheless, they’re still a team.
MICHAEL: Yes, because it goes on the label that way.
NEIL: It’s like if someone was writing a song, who then tells-who then tells everybody what it is they want to play. [inaudible] He just comes in, “This is how I play it.” [inaudible] -to let him do it, to just come in and say, “This is the stuff I’ve written, this is the way I play it. Now-you fill in that bit. Do it.” Or he’ll say, “Oh no, I don’t want to do it. Change that, do this.” And then again, it gets into, he’s doing something that he doesn’t want to do, you know.
MICHAEL: Yeah.
NEIL: Now, you try doing that for a few months, and you’re going to end up pissed off.
MICHAEL: Yeah.
[tbc]
get back
10.0- dialogue
[optional sulpy]Dick James [...] talks about Mary Hopkin's publishing, and the Irving Mills catalog of classic songs that Northern Songs has acquired [...].
MICHAEL: Is this the catalog that’s just gone on sale?
DICK JAMES: It’s the one we just bought.
MICHAEL: Oh, you bought.
DICK JAMES: Yeah.
MICHAEL: Oh, great.
DICK JAMES: For Northern Songs. [long pause; Paul whistling] That includes Paul and John. And I think-
PAUL: [deliberate] Just about.
DICK JAMES: What are you talking about, “just about”?
PAUL: Nothing, uh-no comment.
DICK JAMES: Very substantially, sir.
PAUL: [withering] Yes, right, okay. [quiet] We’ll have a lunch on it, then.
10.72 it's only make believe
[optional sulpy]Michael fears that George having left in the fashion that he did will make it difficult for him to return to the group. Neil disagrees, noting that the weekend meeting that is already planned will give George the opportunity to rejoin. Neil and George Martin then go on to describe the problems that George faces within the group. Their perception is that John and Paul consistently team up against George, and that they don’t offer him enough freedom within their compositions. Neil is quite sympathetic to George’s problem, pointing out that even a few months in such a position would drive anyone to the breaking point.
MICHAEL: The trouble is, once you leave, it’s very hard to come back.
NEIL: Not really. We’ll all have to meet him on Sunday, anyway. So he could be back, then. No, really, the box that George is in is, um-it’s him versus John and Paul when it comes to what he’s got to do and what he has to play.
GEORGE MARTIN: And there’s the songwriting. Because they’re a songwriting team, and he’s-he’s his own team. And if [inaudible; drowned out by John’s and Paul’s voices] it’s tough.
MICHAEL: Yes, but-John and Paul aren’t writing together much anymore, are they, really?
GEORGE MARTIN: No, but nevertheless, they’re still a team.
MICHAEL: Yes, because it goes on the label that way.
NEIL: It’s like if someone was writing a song, who then tells-who then tells everybody what it is they want to play. [inaudible] He just comes in, “This is how I play it.” [inaudible] -to let him do it, to just come in and say, “This is the stuff I’ve written, this is the way I play it. Now-you fill in that bit. Do it.” Or he’ll say, “Oh no, I don’t want to do it. Change that, do this.” And then again, it gets into, he’s doing something that he doesn’t want to do, you know.
MICHAEL: Yeah.
NEIL: Now, you try doing that for a few months, and you’re going to end up pissed off.
MICHAEL: Yeah.
[tbc]
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