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With no real understanding of multitrack recording, Mardis had constructed his console to work with George's 3M 8-track machine – but had no idea about mixing to a stereo buss, for playback in stereo onto a pair of speakers. He took it quite personally that I thought it was an absolute load of nonsense."Ĭredit: Ethan A. I actually burst out laughing – and George got really pissed at me. It looked like something out of a 1930s Buck Rogers science fiction movie. I'd never seen anything so ridiculous in all my life. "We went over there together," says Johns, "and it was sort of comical, really. That day, George brought Michael, Glyn, Dave Harries and Ethan Russell over to Apple to see the new studio that the head of their Apple Electronics division, "Magic Alex" Alexis Mardis, had been building in the basement of their offices at 3 Saville Row. So I had to figure out what the way to do that was." So we'd overnight shifted from what was going to be a television special, with them performing a concert, to a documentary. George really just wants to concentrate on the album.' We would get rid of Twickenham, and just start working on the music, at Apple.
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"He said, 'Everything's going ahead, but we're not gonna talk much about the TV special. It was a tense time for them."Įventually, by Thursday January 16, the four of them had sorted things out, and Paul called his director. "We didn't know what was going to happen, or if he was going to come back. "We sat around, talking, waiting for something to happen," recalls Lindsay-Hogg. In the days after George left, no one really knew what was to come next.