All of the studio performances on side A, with the exception of "Get Back," are very loose, full of silly chatter, improvised comic vocals and a number of mistakes. Side 2 opens similarly, a clinking glass, a brief practice run on the guitar, and one of the crew yelling "quiet, please!" before the Beatles play George's "For You Blue." As Mark Hertsgaard points out, "For You Blue" was an inconsequential song, and an odd choice to include on Get Back, especially given the backlog of excellent songs George had written during the latter years of the Beatles&#151enough to fill set three-record set All Things Must Pass. [1] Still, the performance of "For You Blue" was more polished than most of the other tracks on Get Back. Paul offers it the following track, "Teddy Boy," "for further consideration," and it sounds like a rehearsal. Glyn Johns used an earlier version of "Two of Us" than Phil Spector included on Let It Be. "Maggie Mae" is a brief song, but "Dig It" goes on for much longer than the edited version that Phil Spector included on Let It Be. Glyn Johns then included two of McCartney's songs recorded the day after the rooftop concert. "Let It Be" included overdubs that had been added in April, 1969. Still, these songs were unadorned compared to the lush production that Phil Spector added. The Beatles' performance is particularly moving on "Let It Be" and "The Long and Winding Road" but Johns undercuts that mood with a bit of studio chatter between the tracks in which John asks "are we supposed to giggle during the solo?" to which Paul replies "yeah." Glyn Johns concluded Get Back with a brief reprise of "Get Back" recorded in the studio with annoying vocalizations by Paul. The Beatles could not agree on releasing Glyn Johns's version, so he edited a second version that he presented on January 5, 1970.

Glyn Johns kept most of the studio tom foolery, but he edited out most of the Beatles' sloppy performance of "Save the Last Dance for Me." All that was left of this track from the first Get Back mix was the refrain and the segue into "Don't Let Me Down." Glyn Johns was true to Paul's initial concept for Get Back. Both of the versions of this album that Johns produced presented the Beatles as they were in the studio, "warts and all." Listening to these mixes, though, it's clear why the Beatles were not enthusiastic about them. Rather than creating a sense of immediacy and spontaneity, the Glyn Johns mixes are often annoying.