Uploaded November 2023 | Updated September 2026, 2 weeks ago
"Come and Get It" is a song composed by English singer-songwriter Paul McCartney for the 1969 film The Magic Christian. The song was performed by Badfinger, produced by McCartney and issued as a single 5 December 1969 in the UK, and 12 January 1970 in the US, on the Beatles' Apple label. It was the band's first release under the Badfinger name (having previously recorded as The Iveys) and was their international breakthrough, hitting the top 10 in both the UK and US singles charts.
Paul McCartney recorded a solo demo of the song on 24 July 1969, after arriving early for a Beatles recording session for their Abbey Road album. Singing the double-tracked lead vocal and playing all the instruments, he laid down the vocals and piano on the first take, sang again and played maracas on the first overdub, then added drums, and finally put in the bass guitar track. It took less than an hour to finish. The biggest differences between the McCartney and Badfinger versions are a slower tempo and slightly higher key on the demo, and the use of three-part harmonies on the Badfinger single. Though McCartney was the only Beatle performing on the track, it was officially released as a Beatles song on the 1996 Anthology 3 compilation album and the 2019 Abbey Road re-release, having already appeared on various bootlegs.
In his book Revolution in the Head, Ian MacDonald described the song as "by far the best unreleased Beatles recording".
On 2 August 1969, McCartney produced the studio version at EMI (Abbey Road) Studios by the Apple band Badfinger (then called the Iveys) telling them, "Okay, it's got to be exactly like this demo." His "carrot" for the band was his offer to produce this song and two other Iveys' originals for the movie The Magic Christian, since he had a contract to supply three songs for it. The band followed his instructions.
McCartney auditioned each of the four Iveys to sing lead on "Come and Get It". Ultimately, he picked Tom Evans over the other three band members, Pete Ham, Ron Griffiths, and Mike Gibbins.
The single was released on Apple Records on 5 December 1969 in the UK, but not until 12 January 1970 in the US. "Come and Get It" was a hit single for the band, peaking at number 7 in the United States, and number 4 in the United Kingdom. It was the opening theme for the film The Magic Christian, starring Peter Sellers and Ringo Starr (it was also repeated during the movie's closing credits, with an additional string arrangement added). The UK picture sleeve for the single shows a kaleidoscopic montage of all four members of Badfinger that appear on the song, although bassist Ron Griffiths left the band before the single was released.
New remaster of the original stereo mix.
"Come and Get It" is a song composed by English singer-songwriter Paul McCartney for the 1969 film The Magic Christian. The song was performed by Badfinger, produced by McCartney and issued as a single 5 December 1969 in the UK, and 12 January 1970 in the US, on the Beatles' Apple label. It was the band's first release under the Badfinger name (having previously recorded as The Iveys) and was their international breakthrough, hitting the top 10 in both the UK and US singles charts.
Paul McCartney recorded a solo demo of the song on 24 July 1969, after arriving early for a Beatles recording session for their Abbey Road album. Singing the double-tracked lead vocal and playing all the instruments, he laid down the vocals and piano on the first take, sang again and played maracas on the first overdub, then added drums, and finally put in the bass guitar track. It took less than an hour to finish. The biggest differences between the McCartney and Badfinger versions are a slower tempo and slightly higher key on the demo, and the use of three-part harmonies on the Badfinger single. Though McCartney was the only Beatle performing on the track, it was officially released as a Beatles song on the 1996 Anthology 3 compilation album and the 2019 Abbey Road re-release, having already appeared on various bootlegs.
In his book Revolution in the Head, Ian MacDonald described the song as "by far the best unreleased Beatles recording".
On 2 August 1969, McCartney produced the studio version at EMI (Abbey Road) Studios by the Apple band Badfinger (then called the Iveys) telling them, "Okay, it's got to be exactly like this demo." His "carrot" for the band was his offer to produce this song and two other Iveys' originals for the movie The Magic Christian, since he had a contract to supply three songs for it. The band followed his instructions.
McCartney auditioned each of the four Iveys to sing lead on "Come and Get It". Ultimately, he picked Tom Evans over the other three band members, Pete Ham, Ron Griffiths, and Mike Gibbins.
The single was released on Apple Records on 5 December 1969 in the UK, but not until 12 January 1970 in the US. "Come and Get It" was a hit single for the band, peaking at number 7 in the United States, and number 4 in the United Kingdom. It was the opening theme for the film The Magic Christian, starring Peter Sellers and Ringo Starr (it was also repeated during the movie's closing credits, with an additional string arrangement added). The UK picture sleeve for the single shows a kaleidoscopic montage of all four members of Badfinger that appear on the song, although bassist Ron Griffiths left the band before the single was released.
New remaster of the original stereo mix.

![Simon & Garfunkel - The Sound of Silence (2023 Stereo Mix)
The Sound of Silence, originally The Sounds of Silence, is a song by the American music duo Simon & Garfunkel, written by Paul Simon. The duos studio audition of the song led to a record deal with Columbia Records, and the original acoustic version was recorded in March 1964 at Columbia Studios in New York City for their debut album, Wednesday Morning, 3 A.M. Released on October 19, 1964, the album was a commercial failure and led to the duo disbanding; Simon returned to England, and Art Garfunkel to his studies at Columbia University.
In 1965, the song began to attract airplay at radio stations in Boston and throughout Florida. The growing airplay led Tom Wilson, the songs producer, to remix the track, overdubbing electric instruments and drums. This remixed version was released as a single in September 1965. Simon & Garfunkel were not informed of the songs remix until after its release. The remix hit No. 1 on the Billboard Hot 100 for the week ending January 1, 1966, leading the duo to reunite and hastily record their second album, which Columbia titled Sounds of Silence in an attempt to capitalize on the songs success.
Simon and Garfunkel had become interested in folk music and the growing counterculture movement separately in the early 1960s. Having performed together previously under the name Tom and Jerry in the late 1950s, their partnership had since dissolved when they began attending college. In 1963, they regrouped and began performing Simons original compositions locally in Queens. They billed themselves Kane & Garr, after old recording pseudonyms, and signed up for Gerdes Folk City, a Greenwich Village club that hosted Monday night performances. In September 1963, the duo performed three new songs, among them The Sound of Silence, getting the attention of Columbia Records producer Tom Wilson, a young African-American jazz musician who was also helping to guide Bob Dylans transition from folk to rock. Simon convinced Wilson to let him and his partner have a studio audition; their performance of The Sound of Silence got the duo signed to Columbia.
Simon wrote The Sound of Silence when he was 21 years old, with Simon explaining that the song was written in his bathroom, where he turned off the lights to better concentrate. The main thing about playing the guitar, though, was that I was able to sit by myself and play and dream. And I was always happy doing that. I used to go off in the bathroom, because the bathroom had tiles, so it was a slight echo chamber. Id turn on the faucet so that water would run (I like that sound, its very soothing to me) and Id play. In the dark. Hello darkness, my old friend / Ive come to talk with you again.
Wednesday Morning, 3 A.M. had been a commercial failure before producer Tom Wilson was alerted that radio stations had begun to play The Sound of Silence in spring 1965. A late-night disc jockey at WBZ in Boston began to spin The Sound of Silence, where it found a college demographic. Students at Harvard and Tufts University responded well, and the song made its way down the east coast pretty much overnight, all the way to Cocoa Beach, Florida, where it caught the students coming down for spring break. A promotional executive for Columbia went to give away free albums of new artists, and beach-goers were interested only in the artists behind The Sound of Silence. He phoned the home office in New York, alerting them of its appeal.
Wilson listened to the song several times, considering it too soft for a wide release. Wilson had strong feeling about editing the song with explicit rock overtones. As stated by Geoffrey Himes, If Columbia Records producer Tom Wilson hadnt taken the initiative, without the singers knowledge, to dub a rock rhythm section over their folk rendition, the song never would have become a cultural touchstone—a generations shorthand for alienation.
The single was first serviced to college FM rock stations, and a commercial single release followed on September 13, 1965. The lack of consultation with Simon and Garfunkel on the remix was because, although the duo was still contracted to Columbia Records, the duo was no longer a working entity. It was not unusual for producers to add instruments or vocals to previous releases and re-release them as new products.
In the fall of 1965, Simon was in Denmark, performing at small clubs, and picked up a copy of Billboard, as he had routinely done for several years. Upon seeing The Sound of Silence in the Billboard Hot 100, he bought a copy of Cashbox and saw the same thing. Several days later, Garfunkel excitedly called Simon to inform him of the singles growing success. A copy of the 7-inch single arrived in the mail the next day, and according to friend Al Stewart, Paul was horrified when he first heard it ... [when the] rhythm section slowed down at one point so that Paul and Arties voices could catch up.
Re-balance of my 2021 Mix Simon & Garfunkel - The Sound of Silence (2023 Stereo Mix)](https://i.ytimg.com/vi/UrRLBUsGCfA/mqdefault.jpg)








