He always wanted to work with the Beatles, and he was given the shittiest load of badly recorded shit, with a lousy feeling toward it, ever. When Spector came around, we said, "Well, if you want to work with us, go and do your audition." He worked like a pig on it. Twenty takes of everything, because we were rehearsing and taking everything. There were 29 hours of tape, so much that it was like a movie. The bootleg version is what it was like, and everyone was probably thinking they're not going to fucking work on it. I thought it was good to let it out and show people what had happened to us, we can't get it together we don't play together any more you know, leave us alone. We were going to let it out in really shitty condition. Paul McCartney, Paul McCartney: Many Years From Now, by Barry Miles, 1998 I think that as much as it excited and amused him, at the same time it secretly terrified him. It was a very tense period: John was with Yoko and had escalated to heroin and all the accompanying paranoias and he was putting himself out on a limb. John Lennon, from "The Rolling Stone Interview", 1971 I was stoned all the time and I just didn't give a shit. You couldn't make music at eight in the morning, in a strange place with people filming you, and coloured lights. It was just a dreadful, dreadful feeling at Twickenham Studio. George Harrison, from Mystical One: George Harrison: After the Breakup of the Beatles, Elliot J. There were just too many limitations based upon our being together for so long. You know, I found I was starting to be able to enjoy being a musician, but the moment I got back with The Beatles, it was just too difficult. And straight away again, it was just weird vibes. I got back to England for Christmas and then, on January first, we were to start on the thing, which turned into Let It Be. " The Long and Winding Road"/" For You Blue".February 1968, January 1969, January 1970 and March–April 1970 Ībbey Road and Apple studios, and Twickenham Film Studios, London