Part of the challenge of writing a feature like Ted Tocks Covers is the process of distilling information. In the case of The Beatles, to no one’s surprise I’m sure, there is a plethora of documentation out there for virtually everything they have done since John Lennon and Paul McCartney met at a church picnic in 1957. Right up to the present, whenever any Beatles news is shared it spreads like wildfire. Case in point, the notoriety of the Peter Jackson documentary ‘Get Back’, has brought many a music lover right back to this fascinating period of the iconic band’s history.
For me, the process begins with choosing a song. For instance, today’s feature will be ‘I’ve Got a Feeling’. Then I set out to provide some semblance of a back story. Ideally, it serves to allow readers to understand the creative forces that brought it together and in the most extreme cases some will hear the song again for the first time because some element of the feature made you recognize the true miracle behind the songwriting process. With ‘I’ve Got a Feeling’ this evolution rings true both in the song itself, and through an event in music history that fans still point to as one of the most ‘spontaneous’ performances ever…the ‘rooftop concert’. Let’s begin with profiling the song, which will flow into the iconic event that occurred on the roof of Apple Corps headquarters at 3 Saville Row. As you will see, the two are inextricably connected.
The John Lennon – Paul McCartney songwriting tandem had an uncanny way of gelling even if seemingly by accident. There are many examples of the two songwriters working on parallel lines and then suddenly the independent compositions find a way to blend in order to create the best of songs. As I write, ‘A Day in the Life’ comes to mind. This magical merge is also apparent in ‘I’ve Got a Feeling’. While this song is not nearly as prominent, the mystical dynamic is too much to pass up. The genesis of ‘I’ve Got a Feeling’ shows the songwriters in two very different emotional places. The words they share reflect this reality. Based on Paul McCartney’s writing, it is evident that he is simply euphoric at his prospects with Linda Eastman. Here is the essence of his contribution.
I’ve got a feeling
A feeling deep inside, oh, yeah
(Oh, yeah, that’s right)
I’ve got a feeling
A feeling I can’t hide, oh, no, no
Oh, no
Oh, no
Yeah, yeah, I’ve got a feeling, yeahOh, please, believe me
I’d hate to miss the train, oh, yeah
Oh, yeah
And if you leave me
I won’t be late again, oh, no
Oh, no
Oh, no
Yeah, yeah, I’ve got a feeling, yeah
I got a feelingAll these years I’ve been wandering around
Wondering how come nobody told me
All that I was looking for was somebody who looked like youI’ve got a feeling
John Lennon and Paul McCartney
That keeps me on my toes, oh, yeah
(Oh, yeah) Oh, yeah
I’ve got a feeling
I think that everybody knows, oh, yeah
Oh, yeah, oh, yeah
Yeah, yeah, I have got a feeling, yeah
The positive vibe leaps from the page or more thematically speaking, from the speakers to your ears. This optimistic presentation serves to diminish the somewhat pessimistic undertone in John Lennon’s opening line.
Everybody had a hard year
Everybody had a good time
Everybody had a wet dream
Everybody saw the sun shine
Oh, yeah, (oh, yeah) oh, yeah, oh, yeahEverybody had a good year
John Lennon and Paul McCartney
Everybody let their hair down
Everybody pulled their socks up (yeah)
Everybody put their foot down, oh, yeah
These words reflect John Lennon’s state of mind at the time. Although he had begun a much-publicized relationship with Yoko Ono his life was somewhat turbulent. He had recently divorced his first wife Cynthia and was limited in terms of time that he could spend with his young son Julian. It didn’t help that he was in the throes of heroin addiction, and to top it all off Yoko had suffered a miscarriage. Part of their self-medication process saw them get arrested for cannabis possession. This was 1968 in a nutshell, so while the line ‘Everybody had a hard year’ was a little bit of John projecting, it was coming from a personal place.
Through the unique Lennon/McCartney songwriting partnership, the pair recognized that these polarizing perspectives could be brought together. Paul McCartney has attributed this composition to being mostly inspired by John Lennon which implies that he may have suggested that the opposite sentiments carry through the third verse. This is how the song developed.
I’ve got a feeling (Everybody had a good year)
A feeling deep inside, oh, yeah (Everybody had a hard time)
(Everybody had a wet dream) Oh, yeah
(Everybody saw the sunshine)
I’ve got a feeling (Everybody had a good year)
A feeling I can’t hide, oh, no (Everybody let their hair down)
(Everybody pulled their socks up) Oh no, no
(Everybody put their foot down, oh, yeah)
Yeah, yeahI’ve got a feeling (oh, yeah)
John Lennon and Paul McCartney
I’ve got a feeling (oh, yeah)
I’ve got a feeling
Yeah, yeah, yeah, yeah”
From an outside perspective, it appears as though this was two friends communicating their personal experiences through their written words. They may not have been having an actual conversation, but through the resulting composition it seems like Paul had a positive impact on John’s state of mind.
It would surprise many to know that this is purported to be the first true collaboration between John Lennon and Paul McCartney since ‘Baby You’re a Rich Man’ on the 1967 ‘Magical Mystery Tour’ release. The result is that a song that in many ways was borne out of hopelessness, turned into somewhat of a unifying force for everyone. The Beatles just had a way of doing that for people, as if guided by some form of higher power.
That power is music.
‘I’ve Got a Feeling’ became the opening track on side two of ‘Let it Be’ but like many songs recorded by the Beatles it took on a few forms before its ultimate release. I just love this. It is so raw and so real. This clip makes you feel like you are in the studio. It should send chills to any music fan.
Here is a recording that followed the filming of ‘Let it Be’ at Twickenham Studios.
This version was a part of Anthology 3. It was recorded on January 23rd.
The ultimate recording of ‘I’ve Got a Feeling’ that appeared on ‘Let it Be’ was recorded during the Beatles famous rooftop concert on January 30, 1969. This brings me to part two of today’s feature.
As we all know, the Beatles had not performed in a truly live setting since their 1966 Candlestick Park concert in San Francisco. They had only appeared together in public on rare occasions since that time. In the background, there were a few ideas being thrown around about the possibility, but for one reason or another they fizzled out. It is thought that one of the catalysts for reuniting in a live venue was the Rolling Stones Rock and Roll Circus which saw John Lennon join forces with Mitch Mitchell of the Jimi Hendrix experience on drums, Keith Richards on bass and Eric Clapton on guitar. They were briefly known as The Dirty Mac.
This video was shot by Michael Lindsay-Hogg on December 11, 1968. Hogg went on to shoot the ‘Let it Be’ film that included footage chronicling the formulation of the rooftop concert that took place on January 30, 1969. As mentioned, several ideas to perform live again were discussed. Here is Ringo Starr speaking to this point.
There was a plan to play live somewhere. We were wondering where we could go – “Oh, the Palladium or the Sahara”. But we would have had to take all the stuff, so we decided, “Let’s get up on the roof.”
Ringo Starr
All of this was taking place during a chaotic time in the Beatles history. It is well documented that George Harrison quit the Beatles in the first half of January of 1969. One of his conditions to returning was that plans for a major live performance by the band be scrapped. A second condition was that he wanted the band to move from Twickenham Studios to the Apple Corps headquarters, more specifically, the basement studio. It was at this time that George brought in the glue that literally held this magical eight-day period of jamming and recording together. Let’s say hello to the one and only Billy Preston. Many people agree that that the spirit of the band surged the moment that Billy joined the group at this time. It has been noted that the Beatles recognized the new dynamic almost immediately, and in that moment, John Lennon offered Billy Preston the role of a lifetime.
Every number’s got a piano part, and normally we overdub it, but this time we want to do it live. I mean just live to ourselves. Straight off, one number after the other. That means having somebody in on it. If you’d like to do that, you’re welcome.”
John Lennon
The Beatles friendship with Billy Preston went back as far as their days in Hamburg, Germany when they met the legendary keyboard player while he performed in Little Richard’s band. He is one of a handful of people known as ‘the fifth Beatle’. In truth Preston’s credentials in this sphere may be the most credible, because by virtue of his work on the ‘Let it Be’ sessions he resides as the only musician who was not a Beatle, to receive credit on a Beatles recording. The single ‘Get Back’ is presented as ‘The Beatles with Billy Preston’. The culmination of this eight-day period saw Billy Preston playing keyboards for the Beatles during the rooftop concert. This recording of ‘I’ve Got a Feeling’ was actually a combination of the two versions of the song that the Beatles performed on that day.
As the Beatles enjoyed their newfound zeal for playing together the idea of just going up on the roof to perform was raised by producer Glyn Johns and filmmaker Michael Lindsay-Hogg. Right up until January 29, the members were reluctant, and the negotiations went back and forth. The most enthusiastic was Paul McCartney. Ultimately, it was Paul McCartney who convinced a wavering John Lennon that the opportunity would serve to re-connect the band with their audience. According to Michael Lindsay-Hogg the actual decision to go up and play went right down to the last minute, even while Glyn Johns and road manager Mal Evans were making the logistical arrangements, Lennon just blurted out,
Fuck it – Let’s go do it.”
John Lennon
The Beatles and Billy Preston arrived on the rooftop at around 12:30 and began playing. The confusion on the street below became a combination of excitement, anger and pure rock and roll rebellion. One woman complained that she had been awakened from her routine early afternoon nap. The police were called and reluctantly attempted to shut the show down. The two young officers knew who they were dealing with and struggled with the optics of their potential role in music history. The scene really was quite comical. With the threat of arrest, Mal Evans brought the police up onto the roof where an attempt to turn off the amps was thwarted by none other than George Harrison. The band played on and made their way through the disjointed, yet eternally famous set.
Famously, it all ended with Paul McCartney uttering “Thanks Mo” to Ringo’s enthusiastic wife, and then John Lennon making this statement we all know so well.
I’d like to say thank you on behalf of the group and ourselves, and I hope we’ve passed the audition.”
John Lennon
With that, the crowd dissipated. Over five decades later, the legend remains…and the stories…
As I navigated the many accounts of the rooftop concert I stumbled upon this first-hand recollection from Chris O’Dell. Thanks to my friend Brian for pointing me in this direction.
Who is Chris O’Dell?
While one paragraph is likely inadequate as an introduction, Chris O’Dell was an Apple employee in the late ‘60s, around the time the Beatles were recording the ‘White Album’, ‘Abbey Road’ and ‘Let it Be’. By virtue of her engaging personality, she became the epitome of a music insider. She was there for the hand claps when the Beatles recorded a version of ‘Revolution’. She was among the many who sang the outro on ‘Hey Jude’. When Paul McCartney announced he was leaving the Beatles, Chris O’Dell was sitting with John Lennon and George Harrison at Harrison’s Friar Park mansion as they discussed next steps. Most relevant to today’s post, Chris O’Dell was on the rooftop at 3 Saville Row on January 30, 1969. Here is her account.
After her time with the Beatles, Chris O’Dell went on to work with George Harrison on his ‘All Things Must Pass’ album, before working with Derek and the Dominos. By 1971 she joined Peter Asher in California and worked alongside James Taylor, Linda Ronstadt and Carole King before taking on major roles with the Rolling Stones, Crosby Stills Nash & Young and Bob Dylan. The stories are plentiful, so much so that her autobiography entitled ‘Miss O’Dell’ was released earlier this year to positive reviews.
A couple of quick side notes before I move on to the cover versions. Here is Bobby Whitlock talking about the Chris O’Dell that he spent a lot of time with. Another glimpse from the inside and a full range of wow moments in this 15-minute clip.
No mention of Chris O’Dell would be complete without playing George Harrison’s tongue in cheek tribute to ‘Miss O’Dell’. While the lyrics sound a little jaded this song actually speaks to the point that both George and Chris O’Dell had had their fill of life in California, and world politics on the whole. One of the positive fallouts of the cynicism that comes through was the famous Concert for Bangladesh.
I should make it clear that this is an alternate version. The track that appears on Geore Harrison’s 1973 ‘Living in the Material World’ album features George laughing as he delivers the song.
Continuing with the levity, here is a classic segment from ‘The Simpsons’ where George Harrison takes in Homer’s Be-Sharps rooftop concert on top of Moe’s Tavern, from the back of his limousine. The less than impressed former Beatle states,
It’s been done.”
George Harrison
Let’s move forward to 2016 and a Pearl Jam concert at Fenway Park in Boston. This is a combination of touching, classy and unifying. Listen as Eddie Vedder reads a portion of a letter from a fan. The gentleman communicates the story of a father/son relationship that was not perfect, but there was a song that brought them together. That song was ‘I’ve Got a Feeling’ by the Beatles. So, true to the endless versatility of Pearl Jam they absolutely rock this cover, instantly bringing the entire audience into a stadium wide sing-along. This is all dedicated to a true fan and the memory of his father who had died recently. Yet another example of music as a unifying force.
Editors Note: Unable to share the Fenway show. Trust me. It was very touching. Here is a studio take.
Speaking of the relationship between father and son, here is a proud father moment. Over the past year my son Sebastian has created a radio show on Trent Radio. He calls it ‘Great Canadian Covers’. In conversation, he has noted that it is at least partially inspired by what I have set out to do in Ted Tocks Covers. To his credit he does a handful of things better. Through his project he definitely goes deeper in terms of the artists he features. By taking it to radio he has the opportunity to interview some remarkable Canadian musicians and the venue allows them to tell their story. In recent months he has archived his catalogue of shows on ‘Mixcloud’. The link below will allow you to access the complete library.
All of this is a way of saying from the moment he let me know he was doing this I was moved. From a very young age Sebastian has been inspired by music and the performers that brought it to his ear. Part of it may have been through osmosis, but he took the baton, and he has run with it. I may be his #1 fan (or a close 2nd to his mother). Here is the show’s mission.
Great Canadian Covers is a weekly radio show hosted by Sebastian Johnston-Lindsay and broadcast through the facilities of Trent Radio, CFFF 92.7 FM in Peterborough/Nogojiwanong, Ontario, Canada every Friday at 6:30 PM ET. This show explores the work of Canadian musicians and the many covers and artists that they have inspired with the conviction that cover songs are about relations not only between the artists themselves but about the histories and social contexts in which they are writing.”
Sebastian Johnston-Lindsay – Great Canadian Covers
I reference Sebastian and ‘Great Canadian Covers’ because Sebastian recently interviewed Winnipeg musician Jay Alarcio. Jay is a prime example of what Sebastian is doing on this show. He is wholly dedicated to providing a platform for independent musicians to share their story. This was an interesting interview and it culminated with Alarcio reflecting on his cover of a song by a band that always inspired him. The band is The Beatles, and the song is ‘I’ve Got a Feeling’. Here is the interview for your listening pleasure. To hear Jay’s cover please scroll through to the final five minutes of the half hour segment.
To bring it all the way back around, it was Sebastian’s radio show and Jay’s cover that inspired today’s feature song. On this day we remember John Lennon and his influence. May we celebrate his music for generations to some.
I will send you off with yet another public performance by the immortal Paul McCartney. This is from Grand Central Station in New York City back in September of 2018.
Have a great day. ‘I Have a Feeling’ it is going to be a good one.
Ted Tocks Covers 
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