For me it was like: ‘What am I doing here? This is painful!’ Paul wanted nobody to play on his songs until he decided how it should go. It became stifling, so that although this new album was supposed to break away from that type of recording (we were going back to playing live) it was still very much that kind of situation where he already had in his mind what he wanted. I’m out of here.’ So I got my guitar and went home and that afternoon wrote ‘Wah-Wah’. I got up and I thought, ‘I’m not doing this any more. It was a very, very difficult, stressful time, and being filmed having a row as well was terrible. I’m getting out of here.’Įverybody had gone through that. It never came to blows, but I thought, ‘What’s the point of this? I’m quite capable of being relatively happy on my own and I’m not able to be happy in this situation. (My bug had only picked up the sounds of cutlery banging on china plates, obscuring what the muffled voices had said.) Yoko sat on the edge of the rostrum on the blue cushion which had been George’s and howled into his mike. Paul and Ringo would not be drawn in, and after lunch we went back to the studio where Paul, John, and Ringo improvised a ferocious riff, half an hour of anger and frustration expressed with guitars and drums. He’s just as good and not such a headache.”
John, a person who reacted aggressively to provocation, immediately said, “Let’s get in Eric. We looked at him as he stood silent for a moment. We’d finished the first course when George arrived to stand at the end of the table. At the morning rehearsal, I could tell by his silence and withdrawal that something was simmering inside him, and so in my role as documentarian, I’d asked our soundman to bug the flower pot on the lunch table. George was usually with us, joining in the conversation, affable and friendly and interested in the give-and-take, but on the day of the Tunisian discussion, he wasn’t with us as the meal started. "I hope the fans will love it.At Twickenham, The Beatles, Yoko, and I, often joined by our cameraman Tony Richmond, would have a proper lunch in the small dining room up a flight of stairs, adjoining a bar where some crew members and studio office workers would be sinking their couple of pints of beer before going off to their own lunch… "Leave it to humanity, that's what George wanted to do," said Joshi. "Radhe Shaam" will now be released, with all proceeds going to charity.
The Beatles were global superstars in 1968, but by April 1970 the group had split up. "He said he was the 'underdog,'" said Joshi. "We started talking about philosophy in general," said Joshi, who said Harrison also alluded to growing tensions among the Beatles. Harrison came in to speak to Joshi and the pair offered to play on the track, Joshi said. Joshi was recording at Trident Studios in London, where Harrison and Starr happened to be recording the Beatles song "Hey Jude." The tape itself had to be restored as it had been damaged during its time in storage, said Joshi, who also recounted the story of the day the track was recorded. Then, during Britain's coronavirus lockdown, he found it again, and decided the time was ripe to let other people hear it. "We didn't have the chance to release it." "It was lost and found many times," he said. "Radhe Shaam," written and produced by journalist Suresh Joshi, was recorded in 1968, but the master tape had been in Joshi's loft since then, he told BBC Radio Merseyside host Tony Snell on Wednesday. A lost and previously unheard song featuring Beatles duo George Harrison and Ringo Starr has been played for the first time.
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