The Beatles - One After 909 (rehearsal version)

[@johnharrison9685]

They were trying to play it like the 1962 version. They later found the groove that exemplifies the excellent “Let it Be” version. This is one of my favorite tracks off of “Let it be”.

[@thereisnospoon52]

They made something this cool without even trying! Wow. This is one of the first songs Lennon and McCartney wrote together back when they were teenagers years before the Beatles.

[@RobScuremusic]

They made such wonderful music together!

[@markbartlett1067]

And apart. If I ever get out of here.. Gonna give it all away. To a reasonable roadblock. All I need is a 42 oz. Steel Requires high alc content.

[@michaelorenstein9165]

Might just be my favorite version of "One After 909".

[@LeeOLumbroso]

To me -- who remember dashing, as a teenager, to the store in Paris to buy "Sgt Peppers" on the day it was out, and have included "The One after 9:09" in my numerous Beatles covers as a semi-pro musician --, this is the very best take of the song they ever did, and it's a pity that they didn't refine it in this (studio) form just a tad more to include on the Get Back album, rather than the sound mix-deficient live "Roof Top" version. I'm very grateful to you, @J Alesait, for reposting this on KZbin, as I was *very* sorry to have never thought of downloading it when it was already online for a few years and then got pulled off in 2019 or 2020 over a claim by a copyright holder, apparently. It's such an eternally fresh and exciting execution of the song, and that's because the mixing option (Glyn Jones'?) on this take was to particularly boost George's guitar part and the vocals. It feels almost just like a trio interpretation with George as the sole instrumentalist to support the vocals: the bass and drum parts are opportunately toned down and also less "busy" than on regular versions of the song. Plus I heard no trace of Billy Preston on electric piano, and that's objectively a relief too! ;> What it reveals much more clearly is 1) the well-known exceptional quality of the John+Paul vocal duo, but more strikingly 2) the infectiously enthusiastic and joyously "rockabilly" (i.e. jazzy rock) guitar part by George, who alternates with ease and gusto between substitute chords, rock riffs, appropriate transition licks, etc. It is a special pleasure and joy to hear him so much at his advantage and a remarkable guitar player, as we all know he couldn't help being doused by the genius and front-stage grabbing abilities of his two composer mates for just about the whole 10 years of the Fab Four story. \o/

[@jalesait7836]

Thank you. This is a mono recording made by the filming crew, it seems the mic was closer to George's amp, thus it gives us the opportunity to hear his guitar work better, as you said.

[@LeeOLumbroso]

@@jalesait7836 Ha ha, and me who thought it was a “mixing option”! Sorry for not replying earlier, and thank you very much for the explanation for that unusual instrument balance. If it wasn’t intended, I find it an exquisite happenstance. I may have not stressed enough that this take is also worth a lot for the impeccable duo vocals also rendered with high gain an very distiinctly. They’re so tight, together, just… I would tend to say they were that good 80% of the takes.On the other hand, I feel George’ line here is more distinctly above his pretty good average. It’s full of grit and musicality from first note to last. He goes through many great’gimmicks, sounds very creative, and plays very elegantly at the end woth substituted chords… It.s Brilliant George!

[@MarianoBeatlero]

La cantidad de fills y riffs que reluce George en una canción

[@arnoalbers1786]

beautiful version i never heard before thank you

[@brettrosenberg]

wow. how was this not THE take? so cool and smooth. some classic John and Paul hijinks, too. thanks for making me aware of this!

[@bryanciliberto]

quichenight I guess it’s not THE take because they weren’t trying to get THE take. This was a rehearsal for the rooftop performance. I think it’s pretty obvious the difference in quality between this and the version we hear from the roof. That one is full of energy and performance. This take sounds laid back and causal, not really worrying about mistakes, just looking for ideas.

[@markdekingbee576]

Your joking the roof version blows all others out of the water

[@LeeOLumbroso]

I'm all with you, @quichenight, it *is* THE (most exciting) take of the song, and hence I strongly disagree with Bryan and Mark: although the roof version is obviously a development of this one, it is also a "bortsch" of verbose and gawky instrumental parts, including a really needless piano part, drowning out George's part, which makes all the "cachet" of this "modern" version. I'll just add, to be complete, that it couldn't be included as is on the album; it would have needed, with the same mixing option, just a little more time to be cleaner, which would have been well within their reach if the "Roof Top" idea hadn't, in a way, "polluted" that album session.

[@TheOBViOUSChannel]

Nearly a rockabilly version! Very refreshing to hear this take. #TheObviousCom

[@claudiomontenegroz.3917]

ufff george's guitar, john's voice..... what more can I ask for ?

[@nestormaestro963]

Yes!! George`s guitar is very good.

[@ForoArcadia]

Sounds more Twickenham than Apple. But it's The Beatles, no doubt about it. I love this version, thanks for share!

[@jalesait7836]

Yeah! That's mainly because it's from the mono Nagra tapes (not the multitracks), and Billy was not present on this particular "take"...

[@ryousukem3285]

Great take👍

[@lcfa1962]

Unbelieveable Great

[@s.deegan3740]

This version is really tight with really good vocal harmonies. I wonder if it was captured on multi tracks? Would love to hear this version in stereo

[@walks.akadannystylusjnr.9346]

Some tidy guitar from George on this

[@markdekingbee576]

but not a patch on the roof version.Great guitar from George on there

[@georgeemil3618]

I like the version on the Anthology CD.

[@ivanpaezcabo6300]

Why do I like more the vertion they made 8 years ago from this?

[@markdekingbee576]

Dunno possibly insanity?

[@presto709]

One after 909 seems like such an odd phrase. Does it mean the 110? Or does it leterally mean whatever train comes after the 909? Or something else?

[@LeeOLumbroso]

Kiddo, 909 is not the train number, it’s its time of departure from whatever station Paul and/or John was thinking of, and one should ‘mind-read’ it “9:09“. However, I agree, it’s an odd way to refer to a train you board regularly: why keep in mind the schedule of the train before the one you ride?? Probable answer: song lyrics tend to have a convoluted way to come to a songwriter, and rhyme, number of syllables, word sounds often precede making common sense. ;-)

[@vandenro]

Sounds almost country

[@stevejames2234]

It wasn't written in that style in the early 60's. I Don't Want To Spoil The Party was covered by Roseanne Cash. Buck Owens did a duet with Ringo on Act Naturally. These guys were influenced by many styles. Harrison idolized Chet Atkins. He even played his signature axe, The Gretsch Country Gentleman. Listen to the early tunes. Harrison was not the picker CA was, but heavily influenced by his style. This group knew no boundaries. Just played damn good music!!!!!!!

[@vandenro]

@@stevejames2234 Agree Steve. It was their versatility that set them apart from others....oh and just the ability to write damn good songs.

[@gustavomoro3047]

Son realmente the beatles?

[@greenwich1754]

Is it just me, or do I not hear George in this take. Having a general sense of the guitar styles and sounds (i.e., model/sound of guitar) that John and George played during the Get Back/Let It Be sessions, this guitar sounds exclusively John. The reason I say this is that it is extremely rare to hear John play a lead, so this would be a bit unique.

[@Roberto_Ricciardi]

This is all George and his rosewood Tele.

[@jalesait7836]

Indeed George! A minor edit by me on the solo (IIRC, I did this some time ago), otherwise it's straight from the mono tapes running at the sessions. The mic must have been placed close to George's amp on this version I assume....

[@balam1951]

F A K E

[@jalesait7836]

Not fake my man, it's on the A/B Road set, it's a rehearsal from Jan 29, 1969 at Apple Studios. It's slightly edited by me, but you can always go to the original recording...

[@markdekingbee576]

No fake bud this was taped the day before the roof in the apple basement

[@JannikLindquist]

My "this is not The Beatles"-alarm is blinking.

[@markdekingbee576]

Then My Friend Your alarm needs a new battery for this certainly is them

[@GravityBoy72]

This doesn't sound like them.

[@markdekingbee576]

Ah but it is!

[@oskarmac14]

For the comment made that THIS version was similar to the 1962 one, well, maybe you missed the meter difference? One was in 4/4, the later, in half time.