This one is mostly just George running victory laps. He could keep it up all day.

The notes are a bit on the long side, but I trust you will indulge me, it being so late in the day.

Track Listing:

The Ballad of Sir Frankie Crisp (Let It Roll) (George)
“Aside from music and his quest for spiritual enlightenment, George’s principal passion at this time was Friar Park, his palatial and astonishing new home…. Though the house appeared to be centuries old, it had in fact been rebuilt a mere eighty years previously by a Victorian eccentric named Sir Frank Crisp, a lawyer who had been an advisor to the Liberal Party and whose guidance is said to have saved the Asquith government at the turn of the century…. The main house was a happy mixture of French Renaissance and Gothic architecture which gave it a passing resemblance to Versailles. Door handles to the seventy-odd rooms were made from brass in the shape of monk’s heads. He had a statue outside the house of a friar holding a frying pan riddled with holes captioned: ‘Two Holy Friars.’ Similar jests were carved all over the house, such as ‘Yesterday, today was tomorrow. Tomorrow, today will be yesterday,’ and ‘Make time, save time, while time lasts, any time’s no time when time’s past.’ But it was in the gardens that Sir Frank Crisp had really indulged himself. Three lakes were built on slightly different levels. On summer evenings, Sir Frank would delight in inviting his guests to look at the view, while one of his gardeners punted slowly across the lake. Sir Frank would secretly signal to the man, who would deftly slip his punt from one lake to the next, and by crouching down in the boat, he would appear, from the house, to have vanished. Secret stepping-stones a quarter of an inch below the surface of the lake nearest the house allowed Sir Frank’s butler to appear with a tray of drinks, apparently walking on water. A faithful reproduction of the Alps stood in one corner of the garden — including a perfect, one hundred-foot-high replica of the Matterhorn. In the summer, 40,000 different types of flowers, trees, and shrubs were said to bloom in this section of the garden alone. There were also a series of caves linked by a mysterious underground river. Each cave had its own extraordinary character: the skeleton cave contained countless skeletons and distorting mirrors, the vine cave huge bunches of illuminated glass ‘grapes,’ the gnome cave was filled with more gnomes than a row of Surbiton gardens.” —John Blake, All You Needed Was Love: The Beatles After the Beatles

Apple Scruffs (George)
“Emma Eldredge, a 63-year-old retired nurse from Gloucester, England, is remembering the time she broke into Paul McCartney’s London house in early 1969 and stole a pair of the great man’s trousers. ‘I just did it to have a look,’ she says, matter of factly…. The Apple Scruffs were a tiny but intense group of (mostly) young women who gained their name from the thick coats and sweaters they wore against the London cold, and from hanging around the Georgian doorstep of 3, Savile Row, London, the address of the Beatles’ Apple headquarters…. Most had quit their jobs so they could devote all their time to chasing the Beatles. ‘Oh hello girls, busy day?’ Ringo would quip sarcastically as he walked up the stairs to the Apple office. The American fans, who had flown over to live in London, were richer, had better clothes and cameras and were naturally resented. ‘We didn’t like the Americans much,’ Eldredge admits. “And of course, Linda Eastman was an American, and we didn’t like her….’ The most famous single moment of Scruff history occurred that day when several of them went to hang out at McCartney’s house. Discovering Paul wasn’t in, they played, for a while, on the Buckminster Fuller geodesic domes McCartney had installed in his garden, until one of them – possibly a girl called Chris – spotted a ladder and an open window…. Once they were in, the Scruffs ransacked the house. Apart from the pants which Eldredge purloined, and which the Scruffs took turns wearing, Eldredge also recalls one stealing a tape of the song ‘The End.’ Other girls took Linda’s photographs. The fans were shocked when an infuriated McCartney demanded the more precious items back. When the girls asked how they knew it was them, McCartney answered, ‘A real burglar would have taken more expensive things.’” —William Shaw, Rolling Stone

Every Night (Paul)

If Not for You (George)
“Bob Dylan wrote [‘If Not for You’] and recorded it in 1970 on his New Morning album…. This was Olivia Newton-John’s first major hit on an international scale, and put her on the map in the all-important United States market for the first time, where the song went to #1 on the Adult Contemporary charts. Newton-John herself disliked the song and resisted recording it, doing so only grudgingly at the urging of her managers and fiancé. ‘I wasn’t keen on that song at all.’” —Songfacts.com

I’d Have You Anytime (George)
Wikipedia sez:

The year 1968 marked the start of what Dylan himself later termed his “amnesia,” referring to a form of writer’s block he experienced post-John Wesley Harding (1967), when painting had replaced songwriting as his preferred creative outlet. Well known for his unsophisticated musical approach, particularly in comparison to Harrison’s broader “harmonic palette,” author Simon Leng suggests, Dylan was now eager to learn some more-advanced chords. Harrison began demonstrating various major seventh, diminished and augmented chord shapes – “all these funny chords people showed me when I was a kid,” as he later put it. While playing a G major 7 chord and taking the shape up the guitar neck to B♭ major 7, Harrison realised, “Ah, this sounds like a tune here…” Keen to break down the barriers that Dylan had imposed, Harrison came up with the song’s opening lines:

Let me in here
I know I’ve been here
Let me into your heart …

At the same time, he was pushing Dylan to come up with some words of his own. Dylan duly supplied a rejoinder, in the form of the song’s bridge-chorus:

All I have is yours
All you see is mine
And I’m glad to hold you in my arms
I’d have you anytime.

“Beautiful! – and that was that,” Harrison concludes in I, Me, Mine.