I’m sure this is something Macca regrets. This came from a bootleg called “The Black Album”. It’s certainly from Twickenham Studios, where they began shooting what would end up being “Let It Be”. They all hated it there. The dream was over, John was inducted into the cult of Yoko, had become a junkie, and was resentful that Paul was taking over the band. All the tunes on this bootleg are astonishingly bad. Nothing good enough for an oddity at the end of a compilation. I think Paul was trying to inject fun into a dreary, cold session. Elsewhere he sings “I’m So Tired”, trying to get John engaged. “No Pakistanis” stands out for it’s intensely offensive lyrics, and calls into question what the song was really about. In Mark Lewisohns excellent book, some of which is quoted below, he mentions that out of all the sessions, takes, etc, nothing ever falls apart because of Ringo. He’s rock solid even on this. I’m posting this as an interesting artifact. The best band ever sounding like the worst punk garage band ever.
All the good stuff was recorded in Apple’s basement. Billy Preston dropped by and ended up in The Beatles.
Mark Lewisohn wrote:
Friday 22 – Wednesday 29 (January 1969)
So they could cease the Twickenham rehearsals and switch location to Apple, to their own brand-new basement recording studio. It was at this point, and this point only, that the footage shot at Twickenham for a “Beatles At Work” TV production turned instead into the start of a feature-film idea, to be called – like the album they’d now be making – Get Back.
Although the first Apple Studios shoot/recording session was set for Monday 20 January it didn’t take place until Wednesday the 22nd. The delay was caused by the fact that Apple Corps had a subsidiary company called Apple Electronics, run by a trusted friend of the Beatles, Alexis Mardas.
They named him “Magic Alex” and asked him to install their recording studio in Savile Row. Mardas promised miracles: EMI (Abbey Road) had only just expanded to eight-track recording, Apple would have 72- track. And there would be no need to use those awkward studio “baffles” around Ringo to prevent leakage of his drum sound into the other microphones. Magic Alex would install an invisible sonic force-field which would do the work unobtrusively.
Hardly surprisingly, it all worked out very differently and the Beatles lost two days work. Those around at the time recall that Alex’s mixing console was made of bits of wood and an old oscilloscope and looked not unlike the control panel of a B-52 bomber. The Beatles did a sample recording but when they played back the tape it was patently unusable. George Martin had to call EMI and ask for a temporary loan of two four-track consoles to go with Apple’s eight-track recorder.
Even prior to this, George Harrison had realized the Heath Robinson nature of Apple’s studio when he saw Mardas wandering around in a white coat, with a clipboard, muttering and trying to place box-loads of tiny loudspeakers around the studio, one for each track.