a song he wrote in Campbeltown, "The Lovely Linda". As with much of the album, McCartney sang the composition accompanied by acoustic guitar before filling the remaining tracks on the Studer with a second guitar part, bass and percussive accompaniment. Although this performance of "The Lovely Linda" was only intended as a test of the new equipment, it would be included on the official release, as the opening track, complete with the sound of McCartney giggling at the end of the recording. Reflected in the sequencing of the album, the second and third songs McCartney taped were "That Would Be Something", also written in Scotland, and the instrumental "Valentine Day". The latter was one of three selections on McCartney that its creator "ad-libbed on the spot", he later claimed, along with the similarly rock-oriented "Momma Miss America" and "Oo You". On 3 January 1970, he interrupted work on McCartney to participate in the Beatles' final recording session, when he, George Harrison and Ringo Starr recorded the Harrison composition "I Me Mine" at EMI Studios (now Abbey Road Studios). The next day, the three musicians revisited McCartney's "Let It Be", a song recorded by the band in January 1969 for their forthcoming Get Back film project. Morgan Studios, February 1970 On 12 February, McCartney took his Studer tapes to Morgan Studios, in the north-west London suburb of Willesden, in order to copy all the four-track recordings onto eight-track tape, to allow for further overdubbing. Keen to maintain secrecy about the project, McCartney worked at Morgan under the pseudonym "Billy Martin". By this point, he had also taped "Junk" and "Teddy Boy" at Cavendish Avenue, two songs he began writing during the Beatles' 1968 visit to India and had rehearsed with the band in January 1969. The other recordings transferred to eight-track included "Glasses" – a sound effects piece featuring "wineglasses played at random", in McCartney's description – and "Singalong Junk", an instrumental version of "Junk" to which he now added a strings part played on a Mellotron. Among other overdubs on these eight-track mixes, McCartney supplied a vocal to the previously instrumental "Oo You". While at Morgan, he also taped "Hot as Sun", a "Polynesian-influenced" instrumental dating from the late 1950s, according to author Bruce Spizer, and "Kreen-Akrore", which Sounes describes as an "experimental percussion track". Begun on 12 February, "Kreen-Akrore" was McCartney's attempt to sonically describe a hunt by the