From Adam Gopnik's review of "Get Back" at The New Yorker:
Quote
Throughout the new documentary, Paul’s compulsive musicianship is everywhere evident, taking over even the arrangement of John’s best song, “Don’t Let Me Down.” “It should be different beat and all onto light things and cymbals,” Paul instructs Ringo, and, of the bridge, coolly reminds John: “That’s a weak bit of the song, that.” Yet how gentle the Beatles are with one another, in the pained, semi-articulate way of families! Nobody says a harsh or impatient word. John and Paul, secretly recorded talking about George after he’s quit, do not call him a prima donna but only regret that “it’s a festering wound that we’ve allowed. . . . And we didn’t give him any bandages.” Paul’s talent as a musician does dominate the sessions—but he dominates mostly by cajoling and including rather than by insisting. The now legendary sequence in which Paul, playing full chords on his bass guitar—a difficult thing to do—composes “Get Back” in less than four minutes is still perhaps a bit misunderstood. Paul does it, but he does it for the group. He starts with a keening minor-key wail, interesting in itself, then finds the familiar chord pattern of the song. But Ringo and George are the necessary audience. “It’s good. It’s . . . you know. Musically and that, it’s great,” a till-then bored-seeming George mutters—and, on his Telecaster, instantly answers with a sharp, Steve Cropper-style upstroke riff, one that might well have found a home in the finished song. Ringo starts clapping out the rhythm. Then John walks in, late, and, without saying a single word, immediately finds—as a rhythm guitarist should—the right A dominant-seventh chord on his Epiphone electric and casually starts filling out his part. It’s a movie moment, of the kind that used to happen in forties musicals, when the big band on the sleeper car suddenly finds the song. But here, it just happens. That’s a band.
https://www.youtube....h?v=UocEGvQ10OE
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