Let It Be (album)

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It was a disaster. They were still exhausted from the marathon The Beatles sessions. Paul bossed George around; George was moody and resentful. John would not even go to the bathroom without Yoko at his side ... The tension was palpable, and it was all being caught on film. [12]

– Barry Miles, The Beatles Diary

The Twickenham rehearsals quickly disintegrated into what Apple Corps executive Peter Brown characterised as a "hostile lethargy". [18] Lennon and his partner Yoko Ono had descended into heroin addiction after their arrest on drugs charges in October and Ono's subsequent miscarriage. [19] [20] [21] Unable to supply his quota of new songs for the project, Lennon maintained an icy distance from his bandmates [22] and scorned McCartney's ideas. [20] By contrast, Harrison was inspired by his recent stay in the US; there, he enjoyed jamming with musicians in Los Angeles [23] and experienced a musical camaraderie and creative freedom with Bob Dylan and the Band in upstate New York that was lacking in the Beatles. [24] [25] Harrison presented several new songs for consideration at Twickenham, some of which were dismissed by Lennon and McCartney. [22] [25] McCartney's attempts to focus the band on their objective were construed as overly controlling, [26] particularly by Harrison. [22]

The atmosphere in the film studios, the early start each day, and the intrusive cameras and microphones of Lindsay-Hogg's film crew combined to heighten the Beatles' discontent. [27] When the band rehearsed McCartney's "Two of Us" on 6 January, a tense exchange ensued between McCartney and Harrison about the latter's lead guitar part. During lunch on 10 January, Lennon and Harrison had a heated disagreement in which Harrison berated Lennon for his lack of engagement with the project. [28] Harrison was also angry with Lennon for telling a music journalist that the Beatles' Apple organisation was in financial ruin. [25] According to journalist Michael Housego's report in the Daily Sketch , Harrison and Lennon's exchange descended into violence with the pair allegedly throwing punches at each other. [29] Harrison denied this in a 16 January interview for the Daily Express , saying: "There was no punch-up. We just fell out." [30] [nb 1] After lunch on 10 January, Harrison announced that he was leaving the band and told the others, "See you round the clubs." [14] Starr attributed Harrison's exit to McCartney "dominating" him. [28] [33]

Apple sessions

During a meeting on 15 January, the band agreed to Harrison's terms for returning to the group: they would abandon the plan to stage a public concert and move from the cavernous soundstage at Twickenham to their Apple Studio, where they would be filmed recording a new album, using the material they had gathered to that point. [14] [34] The band's return to work was delayed by the poor quality of the recording and mixing equipment designed by Lennon's friend "Magic" Alex Mardas [35] and installed at Apple Studio, in the basement of the Apple Corps building at 3 Savile Row. Producer George Martin, who had been only a marginal presence at Twickenham, arranged to borrow two four-track recorders from EMI Studios; [36] he and audio engineer Glyn Johns then prepared the facility for the Beatles' use. [35]

Sessions (and filming) at Apple began on 21 January. [37] The atmosphere in the band was markedly improved. [36] To help achieve this, Harrison invited keyboardist Billy Preston to participate, after meeting him outside the Apple building on 22 January. [35] Preston contributed to most of the recording and also became an Apple Records artist. [38] McCartney and Lindsay-Hogg continued to hope for a public concert by the Beatles to cap the project. [36]

Rooftop concert

According to Beatles historian Mark Lewisohn, it is uncertain who thought of a rooftop concert, but the idea was conceived just days before the actual event. [39] In Preston's recollection, it was John Lennon who suggested it. [40]

Until the last minute, according to Lindsay-Hogg, the Beatles were still undecided about performing the concert. [41] He recalled that on 30 January, they had discussed it and then gone silent, until "John said in the silence, 'Fuck it – let's go do it.'" [42] The four Beatles and Preston arrived on the roof at around 12:30 pm. [43] When they began to play, there was confusion nearby among members of the public, many of whom were on their lunch break. As the news of the event spread, crowds began to congregate in the streets and on the flat rooftops of nearby buildings. [44]

Police officers ascended to the roof just as the Beatles began the second take of "Don't Let Me Down". [45] The concert came to an end with the conclusion of "Get Back".

Recording of the project (and filming) wrapped on 31 January. [46]

Get Back mixes

Cover of the aborted Get Back album, mirroring the cover of the band's first album, Please Please Me Beatles get back album cover.jpg
Cover of the aborted Get Back album, mirroring the cover of the band's first album, Please Please Me

In early March, Lennon and McCartney called Johns to Abbey Road and offered him free rein to compile an album from the Get Back recordings. [47] Johns booked time at Olympic Studios between 10 March and 28 May to mix the album and completed the final banded master tape on 28 May. Only one track, "One After 909", was taken from the rooftop concert, with "I've Got a Feeling" and "Dig a Pony" (then called "All I Want Is You") being studio recordings instead. Johns also favoured earlier, rougher versions of "Two of Us" and "The Long and Winding Road" over the more polished performances from the final, 31 January session (which were eventually chosen for the Let It Be film; the Let It Be album used the 31 January take of "Two of Us" but the same 26 January take of "The Long and Winding Road" that Johns had used). It also included a jam called "Rocker", a brief rendition of the Drifters' "Save the Last Dance for Me", Lennon's "Don't Let Me Down" and a four-minute edit of "Dig It". [48] [nb 2] A tape copy of this acetate would later make its way to the United States, where it was played on radio stations in Buffalo and Boston over September 1969. [50]

The cover of the proposed album featured a photograph of the Beatles taken by Angus McBean on 13 May in the interior stairwell at EMI's Manchester Square headquarters. [51] [52] The photo was intended as an update of the group's Please Please Me cover image from 1963 and was particularly favoured by Lennon. The text design and placement similarly mirrored that of the 1963 LP sleeve. [48] [nb 3] The sequencing of "One After 909", a Lennon–McCartney composition from the early 1960s, as the opening track furthered the back-to-the-roots aesthetic. The Beatles rejected the album. [55]

The Get Back album was intended for release in July 1969, but its release was pushed back to September to coincide with the planned television special and the theatrical film about the making of the album. In September, the release was pushed back to December, because the Beatles had just recorded Abbey Road and wanted to issue that album instead. On 20 September, six days before Abbey Road was released, Lennon told McCartney, Starr, and business manager Allen Klein (Harrison was not present) that he "wanted a divorce" from the group. [56] By December, the Get Back album had been shelved.

On 15 December, the Beatles again approached Johns to compile an album, but this time with the instruction that the songs must match those included in the as yet unreleased Get Back film. Between 15 December 1969 and 8 January 1970, new mixes were prepared. Johns's new mix omitted "Teddy Boy" as the song did not appear in the film. It added "Across the Universe" (a remix of the 1968 studio version, as the January 1969 rehearsals had not been properly recorded) and "I Me Mine", on which only Harrison, McCartney and Starr performed, as Lennon had already left the band. "I Me Mine" was newly recorded on 3 January 1970, as it appeared in the film since no multi-track recording had yet been made. Johns also rearranged the playlist, moving "Let It Be" away from "The Long and Winding Road" onto the first side. The Beatles once again rejected the album. [57] [58]

Final mixing

Producer Phil Spector was invited by Lennon and Harrison to take on the task of turning the Beatles' abandoned Get Back recording sessions into a usable album. [59] The songs "Get Back" and "Don't Let Me Down" had been released on a single in April 1969 and "Let It Be" was the A-side of the band's March 1970 single. [60] To coincide with the single, the project was renamed Let It Be. The film, now with the new title, was premiered in New York City on 13 May 1970. One week later, UK premieres were held at the Liverpool Gaumont Cinema and the London Pavilion. None of the Beatles attended any of the premieres. [61]

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"Let It Be"
The Beatles' "Let It Be" from Let It Be
Problems playing this file? See media help.

For the soundtrack album, Spector chose three tracks recorded live from the rooftop performance: "I've Got a Feeling", "One After 909" and "Dig a Pony". "Two of Us" was recorded "live in the studio" with the band members playing together in a single take, and without overdubs or splicing. Spector included "Dig It" and "Maggie Mae", which were improvised during the recordings. "Get Back", on the other hand, included only the section recorded on 27 January 1969, without the coda recorded the next day, and cross-faded to the remarks at the end of the rooftop concert.

Seven of the tracks were thereby released in accordance with the original plans for the Get Back project, whereas the album versions of "For You Blue", "I Me Mine", "Let It Be" and "The Long and Winding Road" include editing, splicing and/or overdubs. "Don't Let Me Down", recorded live in the studio two days before the rooftop concert, was omitted from the album. [62] "Across the Universe" is an edited version of the original 1968 recording, played back at a slower speed (which lowered the key from D to D♭), which had only been rehearsed at Twickenham and not professionally recorded on multi-track tape during the January 1969 sessions. [63]

McCartney was dissatisfied with Spector's treatment of some songs, particularly "The Long and Winding Road". McCartney had conceived of the song as a simple piano ballad, but Spector dubbed in orchestral and choral accompaniment. Lennon defended Spector's work in his "Lennon Remembers" interview for Rolling Stone , saying, "He was given the shittiest load of badly recorded shit – and with a lousy feeling to it – ever. And he made something out of it. He did a great job. When I heard it, I didn't puke." [64]

Lennon chose not to credit Johns for his contribution as a producer. [65] When EMI informed Martin that he would not get a production credit because Spector produced the final version, Martin commented, "I produced the original, and what you should do is have a credit saying 'Produced by George Martin, over-produced by Phil Spector'." [66]

Packaging

The original box set packaging of Let It Be. It contained a 160-page booklet with photos and quotes from the film. Letitbebox.jpg
The original box set packaging of Let It Be. It contained a 160-page booklet with photos and quotes from the film.

In most countries except the United States, [51] the Let It Be LP was originally presented in a box with a full colour book. The book contained photos by Ethan Russell from the January 1969 filming, dialogue from the film, with all expletives removed at EMI's insistence, and essays by Rolling Stone writers Jonathan Cott and David Dalton. [51] [67] Despite the new album title, the book was still titled Get Back. [68] Its inclusion was another step in the Beatles' efforts to provide increasingly elaborate packaging for their records since Sgt. Pepper's Lonely Hearts Club Band . [51] The book's lavishness increased production costs by 33 per cent, however, [69] driving the retail price higher than for any previous Beatles album. [70]

In the United States, the Let It Be album was issued in a gatefold cover and was initially distributed by United Artists Records instead of their usual Capitol Records, with the record using red-tinted Apple labels to reflect this change. (Capitol would acquire United Artists in 1979.) On both sides of the disc, the words "Phil+Ronnie" are inscribed into the inner dead wax.

The LP cover was designed by John Kosh and includes individual photos of the four band members, again taken by Russell. [52] On the front cover, the photos are set in quadrants on a black surround. The album title appears in white text above the images but, as on Abbey Road and other Beatles LPs, the cover does not include the band's name. [71] Written by Apple press officer Derek Taylor, [68] the LP's liner notes described Let It Be as a "new phase Beatles album", adding that "in come the warmth and the freshness of a live performance; as reproduced for disc by Phil Spector". Martin and Johns were among those listed for "thanks to". [52]

Critical reception and legacy

Let It Be
The Beatles - Let It Be.png
Studio album by
the Beatles
Released8 May 1970 (1970-05-08)
Recorded
  • 4, 8 February 1968
  • 24–31 January 1969
  • 3, 4, 8 January 1970
  • 1 April 1970
Venue Apple Corps rooftop, London
Studio Apple, EMI and Olympic Sound, London
Genre
Length35:10
Label Apple
Producer Phil Spector
The Beatles chronology
Abbey Road
(1969)		Let It Be
(1970)		 The Beatles' Christmas Album
(1970)
The Beatles North American chronology
Hey Jude
(1970)		Let It Be
(1970)		 From Then to You
(1970)
Retrospective professional ratings
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar full.svgStar half.svg [3]
Far Out Magazine Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [72]
The A.V. Club B− [73]
Billboard Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [74]
Chicago Sun-Times Star full.svgStar full.svgStar half.svgStar empty.svg [75]
Christgau's Record Guide A− [76]
The Daily Telegraph Star full.svgStar full.svgStar empty.svgStar empty.svgStar empty.svg [1]
Encyclopedia of Popular Music Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [77]
Pitchfork 9.1/10 [78]
The Rolling Stone Album Guide Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [79]
Sputnikmusic4/5 [80]

Let It Be topped album charts in both the US and the UK, and the "Let It Be" single and "The Long and Winding Road" also reached number one in the US. Despite its commercial success, according to Beatles Diary author Keith Badman, "reviews [were] not good". [81] NME critic Alan Smith wrote: "If the new Beatles' soundtrack is to be their last then it will stand as a cheapskate epitaph, a cardboard tombstone, a sad and tatty end to a musical fusion which wiped clean and drew again the face of pop." [82] Smith added that the album showed "contempt for the intelligence of today's record-buyer" and that the Beatles had "sold out all the principles for which they ever stood". [83] Reviewing for Rolling Stone, John Mendelsohn was also critical of the album, citing Spector's production embellishments as a weakness: "Musically, boys, you passed the audition. In terms of having the judgment to avoid either over-producing yourselves or casting the fate of your get-back statement to the most notorious of all over-producers, you didn't." [84]

John Gabree of High Fidelity magazine found the album "not nearly as bad as the movie" and "positively wonderful" relative to the recent solo releases by McCartney and Starr. Gabree admired "Let It Be", "Get Back" and "Two of Us", but derided "The Long and Winding Road" and "Across the Universe", the last of which he described as "bloated and self-satisfied – the kind of song we've come to expect from these rich, privileged prototeenagers". [85] While questioning whether the Beatles' split would remain permanent, William Mann of The Times described Let It Be as "Not a breakthrough record, unless for the predominance of informal, unedited live takes; but definitely a record to give lasting pleasure. They aren't having to scrape the barrel yet." [86] In his review for The Sunday Times , Derek Jewell deemed the album to be "a last will and testament, from the blackly funereal packaging to the music itself, which sums up so much of what The Beatles as artists have been – unmatchably brilliant at their best, careless and self-indulgent at their least." [86]

In a retrospective review, Richie Unterberger of AllMusic described Let It Be as the "only Beatles album to occasion negative, even hostile reviews", but felt that it was "on the whole underrated". He singles out "some good moments of straight hard rock in 'I've Got a Feeling' and 'Dig a Pony'", and praises "Let It Be", "Get Back" and "the folky 'Two of Us'". [3] Reviewing for The Daily Telegraph in 2009, Neil McCormick described Let It Be as a "slightly sad postscript", adding, "there are still monster tunes here by anyone else's standards, but it lacks sonic clarity, and is peppered with under-developed, sub-standard blues." [1]

Let It Be was ranked number 86 in Rolling Stone's list of the 500 Greatest Albums of All Time in 2003, [87] number 392 in the 2012 version, [88] and number 342 in the 2020 edition. [89] It was voted number 890 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000). [90] On Metacritic, the 50th Anniversary multi-disc Super Deluxe Edition of the album holds a score of 91 out of 100, based on seven professional reviews, indicating "universal acclaim". [91]

In 1971, Let It Be won the Grammy Award for the Best Original Score Written for a Motion Picture or Television Special. [92] It was also one of the nominations for the Grammy Award for Best Contemporary Vocal Performance by a Duo, Group or Chorus. [93] Despite his objections to Spector's embellishments and the expensive packaging, including the "blatant hype" printed on the LP's back cover, [69] McCartney personally accepted the band's award. [94] [nb 4] That same year, the Beatles won the Academy Award for the Best Original Song Score for the songs in the film. [96]

In 1988, the Slovenian band Laibach released a martial industrial version of the album, also titled Let It Be . [97] Beatles author Kenneth Womack comments on Laibach's notable exclusion of the title track and describes the album as "military style interpretations and choral pieces". [93] For the magazine's October 2010 issue, Mojo released Let It Be Revisited, [93] a CD containing interpretations of the songs by acts such as Beth Orton, Phosphorescent, Judy Collins, Wilko Johnson, the Besnard Lakes, John Grant and the Jim Jones Revue. [98]

Reissues

In 1976, the United Artists release of the Let It Be album went out of print in America until 1979, when United Artists Records was acquired by Capitol Records. Let It Be was reissued on the Capitol label, catalogue number SW 11922; during this three year hiatus, many counterfeit copies of the LP appeared on the market in the US. [99]

Let It Be... Naked

Paul McCartney, long unhappy with the original Phil Spector produced Let It Be LP, initiated a remix of the album, titled Let It Be... Naked which was released in 2003. The album was presented as an alternative attempt to capture the original artistic vision of the project, to "get back" to the rock and roll sound of the band's early years. The album features alternate takes, edits, and mixes of the songs, mainly removing elements added by Spector. The album omits the group chatter, "Maggie Mae" and "Dig It", and adds a live rooftop performance of "Don't Let Me Down", a song omitted from the original album and issued as the B side of the "Get Back" single in 1969. [100]

Deluxe editions

In November 2021, The Beatles: Get Back , a new documentary directed by Peter Jackson using footage captured for the Let It Be film, was released on Disney+ as a three-part miniseries. [101] It was originally going to be theatrically released in 2020 to coincide with the 50th anniversary of the Let It Be album, but was delayed to November 2021 and moved to Disney+. A book also titled The Beatles: Get Back was released in October 2021, ahead of the documentary. [102]

A super deluxe version of the album was released on 15 October 2021.

Track listing

Original release

All songs written by Lennon–McCartney, except where noted. Lead vocals according to Ian MacDonald. [103]

Side one
No.TitleLead vocalsLength
1."Two of Us"McCartney and Lennon3:36
2."Dig a Pony"Lennon3:54
3."Across the Universe"Lennon3:48
4."I Me Mine" (George Harrison)Harrison2:26
5."Dig It" (Lennon, McCartney, Harrison, Richard Starkey)Lennon0:50
6."Let It Be"McCartney4:03
7."Maggie Mae" (traditional; arranged by Lennon, McCartney, Harrison, Starkey)Lennon and McCartney0:40
Total length:19:17
Side two
No.TitleLead vocalsLength
1."I've Got a Feeling"McCartney and Lennon3:37
2."One After 909"Lennon with McCartney2:54
3."The Long and Winding Road"McCartney3:38
4."For You Blue" (Harrison)Harrison2:32
5."Get Back"McCartney3:09
Total length:15:50 35:10

Rejected Glyn Johns versions

According to Mark Lewisohn: [104]

Personnel

The Beatles

Additional musicians

Production

Charts

Certifications

Certifications and sales for Let It Be
RegionCertification Certified units/sales
Argentina (CAPIF) [148] 2× Platinum120,000^
Australia (ARIA) [149] Platinum70,000^
Canada (Music Canada) [150] 4× Platinum400,000‡
Denmark (IFPI Danmark) [151] Platinum20,000‡
France (SNEP) [152] Gold100,000*
Italy (FIMI) [153]
sales since 2009 		Gold25,000‡
New Zealand (RMNZ) [154]
Reissue 		2× Platinum30,000^
United Kingdom (BPI) [155] Platinum300,000‡
United States (RIAA) [156] 4× Platinum4,000,000^

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

† BPI certification awarded only for sales since 1994. [157]

See also

Notes

  1. ↑ The film audio tapes from 22 January capture Harrison and Lennon discussing the Daily Sketch article, [31] which was titled "The End of a Beautiful Friendship?" [32] Lennon was offended by the idea that the Beatles would ever use violence against one another and is heard asking O'Dell whether they can sue Housego for his false reporting. [31]
  2. ↑ In an interview he gave to some American journalists in early May, Lennon described the Get Back album as "Apple Skyline", referring to Dylan's just-released Nashville Skyline . [49]
  3. ↑ Although discarded for Let It Be, the two contrasting band photos were instead used for the covers of the Beatles' 1973 compilation albums 1962–1966 and 1967–1970 . [53] [54]
  4. ↑ McCartney later said that when preparing the Let It Be album for release in 1970, they all knew that the Beatles were no more and, with regard to the sleeve's "new phase" claim, "nothing was further from the truth." He added that Klein had arranged for the album to be "reproduced" because he did not find it sufficiently commercial. [95]

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<i>Kum Back</i> 1970 bootleg studio album by The Beatles

Kum Back is the first bootleg album by the Beatles, released in January 1970. The album is an early version of what would become Let It Be, sourced from a tape recording of an acetate prepared by the band's engineer, Glyn Johns. It is one of the earliest commercial rock bootlegs, the first being Great White Wonder by Bob Dylan which was released several months earlier.

<span class="mw-page-title-main">Wah-Wah (song)</span> Song by George Harrison

"Wah-Wah" is a song by English rock musician George Harrison from his 1970 triple album All Things Must Pass. Harrison wrote the song following his temporary departure from the Beatles in January 1969, during the troubled Get Back sessions that resulted in their Let It Be album and film. The lyrics reflect his frustration with the atmosphere in the group at that time – namely, Paul McCartney's over-assertiveness and criticism of his guitar playing, John Lennon's lack of engagement with the project and dismissal of Harrison as a songwriter, and Yoko Ono's constant involvement in the band's activities. Music critics and biographers recognise the song as Harrison's statement of personal and artistic freedom from the Beatles. Its creation contrasted sharply with his rewarding collaborations outside the group in the months before the Get Back project, particularly with Bob Dylan and the Band in upstate New York.

"Thinking of Linking" is one of the first songs written by English musician Paul McCartney. Inspired by a cinema advertisement for Link Furniture, McCartney composed the song in 1958. The lyric consists of only three lines, while the music is influenced by the sound of Buddy Holly and the Crickets, particularly the song "Peggy Sue Got Married".

<span class="mw-page-title-main">The Beatles' rooftop concert</span> Final public performance of the Beatles

On 30 January 1969, The Beatles performed a concert from the rooftop of their Apple Corps headquarters at 3 Savile Row, in central London's office and fashion district. Joined by guest keyboardist Billy Preston, the band played a 42-minute set before the Metropolitan Police arrived and ordered them to reduce the volume. It was the final public performance of their career. They performed nine takes of five new songs as crowds of onlookers, many on lunch breaks, congregated in the streets and on the rooftops of nearby buildings to listen. The concert ended with "Get Back", and John Lennon joking, "I'd like to say thank you on behalf of the group and ourselves, and I hope we've passed the audition."

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