I think even some of the musical bits on the reunion songs, which as I've said I love, were probably concessions Paul had to make a bit begrudgingly. Rick Ward working on the design was another (he was George's guy). Geoff Emerick was another (Paul wanted him George *did not* want him), and so on. Jeff Lynne was one (George wanted him Paul was uneasy).
The Anthology project was rife with such concessions and horse trading. Yeah, I think the reason the George vocal sticks out a bit is that it felt like a logistical and/or political concession more than an organic evolution of the arrangement. There was a limit to the "all four equal" prompt of course I think they knew they weren't going to have a *third bridge* with *Ringo* singing. Even mired in Apple politics, they sound great and everybody shines. Which I think in a way makes them even more impressive. They mentioned having to design that "triptych" artwork so that *every different way* it was divided up (into three for albums, into eight for VHS tapes, etc.), the artwork showed all four Beatles as equally as possible. I mentioned before the spines on the VHS tapes. But if you read interviews from back then with people who worked on the Anthology, you also learn how so much of everything on the project defaulted to featuring all four equally as much as possible. George and Paul both commenting on missing John, etc.). I think a lot of the other interpretations folks have offered are valid as well (e.g. "All the main vocalists get their moment!" was not a prompt that the Beatles typically ever used on their records.
Click to expand.I think it's both, depending on how you view group inner-politics.
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