Giles Martin has drawn a clear line under the idea of newly discovered Beatles songs, while acknowledging that a substantial body of music recorded during the Get Back sessions remains unreleased in any formal studio context. After years immersed in the Fab Four’s archives, Martin believes the catalogue of fully realised, unheard Beatles songs is effectively complete, even as fans continue to debate what still sits unheard outside the documentary itself.
Martin, the son of legendary producer Sir George Martin, has spent much of the past decade revisiting and recontextualising the Beatles’ recorded legacy. His work has included new mixes of classic albums, stewardship of expanded box sets, and most recently the curation of Anthology 4, released in 2025 as part of a major reissue of the Anthology series. Despite that deep archival access, Martin has been consistent in his view that no finished Beatles songs remain undiscovered.
The distinction, however, lies between “songs” and “recorded performances”. The Get Back project, originally filmed in January 1969 and later restored and expanded by Peter Jackson, captured the Beatles rehearsing, writing, jamming, and revisiting material across dozens of hours of tape. Within those sessions are numerous original ideas, fragments, and improvisations that never progressed into completed Beatles recordings.
Among the fully unreleased and unfinished originals are early Lennon McCartney compositions such as “Too Bad About Sorrows” and “Just Fun”, teenage era fragments briefly revived during the sessions. Other incomplete ideas include “Because I Know You Love Me So”, “Thinking Of Linking”, and the politically charged improvisation “Commonwealth”, a satirical Lennon McCartney jam reflecting the social tensions of the time.
Several titles from the Get Back recordings have become legendary among collectors, including “Madman”, also known as “Madman A-Comin’”, a Lennon idea related thematically to “Mean Mr Mustard”, and “Everybody’s Got Soul”, a fleeting Lennon-led improvisation. Paul McCartney’s piano-driven instrumental “The Palace Of The King Of The Birds” stands out as one of the most fully formed unreleased Beatles compositions, yet it was never developed into a master take.
The sessions also documented songs that later emerged on solo albums, reinforcing the sense that Get Back captured the Beatles at the point of creative divergence. George Harrison played “All Things Must Pass” and “Isn’t It A Pity” extensively, both of which were passed over in 1969 before becoming cornerstones of his 1970 solo debut. John Lennon rehearsed “Gimme Some Truth” and “Child Of Nature”, the latter eventually rewritten as “Jealous Guy”. Paul McCartney introduced “Another Day” and “The Back Seat Of My Car”, both of which would not be completed until his post Beatles career.
In addition to originals, the Get Back tapes are packed with informal covers and medleys. Snippets of “Rip It Up / Shake, Rattle, & Roll”, “Blue Suede Shoes”, “Kansas City / Miss Ann / Lawdy Miss Clawdy”, and “Save The Last Dance For Me” reflect the band’s shared musical DNA, rather than material ever intended for release. Many of these moments remain available only within the documentary itself or on long circulating bootlegs.
As of 2026, some Get Back material has been officially released through the Let It Be Super Deluxe Edition in 2021 and Anthology 4 in 2025. Even so, numerous jams, rehearsals, and titled improvisations such as “Watching Rainbows” and Ringo Starr’s “Taking A Trip To Carolina” have yet to appear in a standalone studio format.
Martin has also been firm in shutting down speculation about releasing extended curiosities, including the much discussed long version of “Helter Skelter”. From his perspective, the archival mission is nearing its natural conclusion. His role, he has said, is not to endlessly excavate, but to present what exists with clarity and respect.
That responsibility is deeply personal. Sir George Martin, often referred to as the “fifth Beatle”, shaped the band’s sound from their earliest recordings through to their most ambitious studio work. Giles Martin has spoken openly about how revisiting the Beatles’ tapes allows him to reconnect with his father’s legacy, as well as the music’s enduring emotional impact.
Looking ahead, Martin’s focus is shifting from audio restoration to storytelling. He is currently collaborating with director Sam Mendes on four upcoming Beatles films, each centred on an individual band member. While no new songs are expected to emerge, the Get Back era continues to underline how much of the Beatles’ creative process was captured, even if it was never meant to be finished.
Martin’s comments don’t sit well for fans expecting a Rubber Soul box set. For those fans, the message is clear. The Beatles’ story may still reveal new perspectives, but the well of completed, unheard songs has finally run dry.
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