Timeline More from year 1970
Release date:
May 08, 1970
Publisher:
Apple Records

Master album


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Track list

Side 1


1.

Two Of Us

Written by Lennon - McCartney

3:37 • Studio versionA • Stereo

Paul McCartney :
Acoustic guitar, Vocals, Whistling
Ringo Starr :
Drums
John Lennon :
Acoustic guitar, Vocals, Whistling
George Harrison :
Lead guitar
George Martin :
Producer
Phil Spector :
Producer
Glyn Johns :
Recording engineer

Session Recording:
Jan 31, 1969
Studio :
Apple Studios, 3 Savile Row, London

Session Overdubs:
Jan 21, 1969
Studio :
Apple Studios, 3 Savile Row, London

Session Mixing:
Mar 25, 1970
Studio :
EMI Studios, Room 4, Abbey Road

Session Mixing:
Mar 27, 1970
Studio :
EMI Studios, Room 4, Abbey Road


2.

Dig A Pony

Written by Lennon - McCartney

3:55 • Studio versionA • Stereo

Paul McCartney :
Bass, Vocals
Ringo Starr :
Drums
John Lennon :
Rhythm guitar, Vocals
George Harrison :
Lead guitar, Vocals
George Martin :
Producer
Glyn Johns :
Recording engineer
Billy Preston :
Electric piano

Concert From "The rooftop concert" in London, United Kingdom on Jan 30, 1969

Session Mixing:
Mar 23, 1970
Studio :
EMI Studios, Room 4, Abbey Road


3.

Across the Universe

Written by Lennon - McCartney

3:48 • Studio versionB • Stereo

Paul McCartney :
Acoustic guitar, Backing vocals, Piano
Ringo Starr :
Drums, Percussion, Svaramandal
John Lennon :
Acoustic rhythm guitar, Backing vocals, Electric guitar, Organ, Vocals
George Harrison :
Backing vocals, Electric guitar, Maracas, Tambura
George Martin :
Hammond organ, Producer
Phil Spector :
Producer
Phil McDonald :
Assistant recording engineer
Ken Scott :
Recording engineer
Peter Bown :
Mixing engineer, Recording engineer
Martin Benge :
Recording engineer
Lizzie Bravo :
Backing vocals
Gayleen Pease :
Backing vocals
Richard Lush :
Assistant recording engineer
Mike Sheady :
Mixing engineer, Recording engineer
Unknown musician(s) :
Choir, Strings

Session Recording:
Feb 04, 1968
Studio :
EMI Studios, Studio Three, Abbey Road

Session Overdubs:
Feb 08, 1968
Studio :
EMI Studios, Studio Two, Abbey Road

Session Orchestral overdubs:
Apr 01, 1970

Session Mixing:
Apr 02, 1970
Studio :
EMI Studios, Room 4, Abbey Road


4.

I Me Mine

Written by George Harrison

2:26 • Studio versionA • Stereo

Paul McCartney :
Bass, Electric piano, Hammond organ, Harmony vocals
Ringo Starr :
Drums
George Harrison :
Acoustic guitars, Harmony vocals, Lead guitars, Vocals
George Martin :
Producer
Phil Spector :
Producer
Phil McDonald :
Recording engineer
Peter Bown :
Recording engineer

Session Recording:
Jan 03, 1970
Studio :
EMI Studios, Studio Two, Abbey Road

Session Mixing:
Mar 23, 1970
Studio :
EMI Studios, Room 4, Abbey Road

Session Overdubs:
Apr 01, 1970
Studio :
EMI Studios, Abbey Road

Session Mixing:
Apr 02, 1970
Studio :
EMI Studios, Room 4, Abbey Road


5.

Dig It

Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison

0:51 • Studio versionA • Stereo

Paul McCartney :
Piano
Ringo Starr :
Drums
John Lennon :
Six-string bass guitar, Vocals
George Harrison :
Lead guitar
George Martin :
Producer, Shaker
Glyn Johns :
Recording engineer
Billy Preston :
Hammond organ

Session Recording:
Jan 26, 1969
Studio :
Apple Studios, 3 Savile Row, London

Session Additional recording:
Jan 24, 1969
Studio :
Apple Studios, 3 Savile Row, London

Session Mixing:
Mar 27, 1970
Studio :
EMI Studios, Room 4, Abbey Road


6.

Let It Be

Written by Lennon - McCartney

4:03 • Studio versionB • Stereo

Paul McCartney :
Backing vocals, Bass guitar, Maracas, Piano, Vocals
Linda McCartney :
Backing vocals
Ringo Starr :
Drums
John Lennon :
Backing vocals
George Harrison :
Backing vocals, Lead guitar
George Martin :
Producer
Phil McDonald :
Recording engineer
Chris Thomas :
Producer
Jeff Jarratt :
Recording engineer
Glyn Johns :
Recording engineer
Billy Preston :
Electric piano, Organ

Session Recording:
Jan 31, 1969
Studio :
Apple Studios, 3 Savile Row, London

Session Overdubs:
Jan 04, 1970
Studio :
EMI Studios, Studio Two, Abbey Road

Session Mixing:
Mar 26, 1970
Studio :
EMI Studios, Room 4, Abbey Road


7.

Maggie Mae

Written by Paul McCartney, Ringo Starr, John Lennon, George Harrison

0:40 • Studio versionA • Stereo

Paul McCartney :
Acoustic guitar, Vocals
Ringo Starr :
Drums
John Lennon :
Acoustic guitar, Vocals
George Harrison :
Lead guitar
Glyn Johns :
Recording engineer

Session Recording:
Jan 24, 1969
Studio :
Apple Studios, 3 Savile Row, London

Session Mixing:
Mar 26, 1970
Studio :
EMI Studios, Room 4, Abbey Road


8.

I've Got A Feeling

Written by Lennon - McCartney

3:38 • Studio versionA • Stereo

Paul McCartney :
Bass, Vocals
Ringo Starr :
Drums
John Lennon :
Rhythm guitar, Vocals
George Harrison :
Lead guitar, Vocals
George Martin :
Producer
Glyn Johns :
Recording engineer
Billy Preston :
Electric piano

Concert From "The rooftop concert" in London, United Kingdom on Jan 30, 1969

Session Mixing:
Mar 23, 1970
Studio :
EMI Studios, Room 4, Abbey Road


9.

One After 909

Written by Lennon - McCartney

2:54 • Studio versionA • Stereo

Paul McCartney :
Bass, Vocals
Ringo Starr :
Drums
John Lennon :
Rhythm guitar, Vocals
George Harrison :
Lead guitar
George Martin :
Producer
Glyn Johns :
Recording engineer
Billy Preston :
Electric piano

Concert From "The rooftop concert" in London, United Kingdom on Jan 30, 1969

Session Mixing:
Mar 23, 1970
Studio :
EMI Studios, Room 4, Abbey Road


10.

The Long and Winding Road

Written by Lennon - McCartney

3:38 • Studio versionA • Stereo

Paul McCartney :
Piano, Vocals
Ringo Starr :
Drums
John Lennon :
Bass
George Harrison :
Guitar
George Martin :
Producer
Richard Hewson :
Orchestra arrangement
Phil Spector :
Producer
Peter Bown :
Recording engineer
Glyn Johns :
Recording engineer
Unknown musician(s) :
Cellos, Female vocalists, Guitarists, Harp, Trombones, Trumpets, Violas, Violins

Session Recording:
Jan 26, 1969
Studio :
Apple Studios, 3 Savile Row, London

Session Orchestra overdubs:
Apr 01, 1970
Studio :
EMI Studios, Studio One, Abbey Road

Session Mixing:
Apr 02, 1970
Studio :
EMI Studios, Room 4, Abbey Road


11.

For Your Blue

Written by George Harrison

2:32 • Studio versionA • Stereo

Paul McCartney :
Piano
Ringo Starr :
Drums
John Lennon :
Lap steel guitar
George Harrison :
Acoustic guitar, Vocals
George Martin :
Producer
Glyn Johns :
Recording engineer

Session Recording:
Jan 25, 1969
Studio :
Apple Studios, 3 Savile Row, London

Session Additional recording:
Jan 08, 1969
Studio :
Twickenham Film Studios, London, UK


12.

Get Back

Written by Lennon - McCartney

3:14 • Studio versionC • Stereo

Paul McCartney :
Bass, Lead vocal
Ringo Starr :
Drums
John Lennon :
Backing vocal, Lead guitar
George Harrison :
Rhythm guitar
George Martin :
Producer
Glyn Johns :
Engineer
Billy Preston :
Electric piano
Jerry Boys :
Second engineer

Session Recording:
January 27, 1969
Studio :
Apple Studios, 3 Savile Row, London

Session Recording:
January 28, 1969
Studio :
Apple Studios, 3 Savile Row, London

Session Mixing:
Mar 26, 1970
Studio :
EMI Studios, Room 4, Abbey Road

About

From Wikipedia:

Let It Be is the twelfth and final studio album by the English rock band the Beatles. It was released on 8 May 1970, almost a month after the group’s break-up, in tandem with the motion picture of the same name. Like most of the band’s previous releases, the album topped record charts in many countries, including both the US and the UK. However, the critical response was generally unfavourable, and Let It Be came to be regarded as one of the most controversial rock albums in history.

Rehearsals began at Twickenham Film Studios in January 1969 as part of a planned documentary showing the Beatles’ return to live performance. Paul McCartney conceived the project as an attempt to reinvigorate the band by returning to simpler rock and roll configurations. The filmed rehearsals were marked by ill feeling, leading to George Harrison’s temporary departure from the group. As a condition of his return, the members reconvened at their own Apple Studio with guest keyboardist Billy Preston. The project then yielded a single public concert held impromptu on the studio’s rooftop on 30 January, from which three of the album’s tracks were drawn.

In April 1969, the Beatles issued the single “Get Back“, after which engineer Glyn Johns proposed rejected mixes of the album, then titled Get Back, that were widely bootlegged before release. From then, the project lay in limbo as they moved onto the recording of Abbey Road, released that September. By then, John Lennon had departed the group. In January 1970, the remaining Beatles finished the album with the completion of “Let It Be” and “I Me Mine“. The former was issued as a single in March 1970, and like all the album’s recording to this point, was produced by George Martin.

Get Back was ultimately assembled under the title of Let It Be by the American producer Phil Spector in early 1970. He omitted “Don’t Let Me Down” (the B-side of the “Get Back” single) and instead included a 1968 take of “Across the Universe“. Spector also included excerpts of studio chatter and applied orchestral and choir overdubs to four tracks. The additions offended McCartney, particularly in the case of “The Long and Winding Road“. In 2003, McCartney spearheaded Let It Be… Naked, an alternative mix of Let It Be that removes Spector’s embellishments. In 2021, a remixed and expanded edition of Let It Be will be released with session highlights and a remaster of the 1969 Get Back mix.

Background

The Beatles completed the five-month sessions for their self-titled double album (also known as the “White Album”) in mid October 1968. While the sessions had revealed deep divisions within the group for the first time, leading to Ringo Starr quitting for three weeks, the band enjoyed the opportunity to re-engage with ensemble playing, as a departure from the psychedelic experimentation that had characterised their recordings since the band’s retirement from live performance in August 1966. Before the White Album’s release, John Lennon enthused to music journalist Jonathan Cott that the Beatles were “coming out of our shell … kind of saying: remember what it was like to play?” George Harrison welcomed the return to the band’s roots, saying that they were aiming “to get as funky as we were in the Cavern”.

Concerned about the friction over the previous year, Paul McCartney was eager for the Beatles to perform live again. With Lennon’s agreement, he booked studio space at Twickenham Film Studios for all of January 1969, so that the band could be filmed rehearsing new songs for a live performance in a concert venue. The timeline was dictated by Harrison being away in the United States until Christmas and Starr’s commitment to begin filming his role in The Magic Christian in February.

Recording and production

Twickenham and Apple sessions

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

The atmosphere in the film studios, the early start each day, and the intrusive cameras and microphones of Michael Lindsay-Hogg’s film crew combined to heighten the Beatles’ discontent. When the band rehearsed McCartney’s “Two of Us” on 6 January, a terse 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. Harrison was also angry with Lennon for telling a music journalist that the Beatles’ Apple organisation was in financial ruin. 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. Harrison denied this in a 16 January interview for the Daily Express, saying: “There was no punch-up. We just fell out.” After lunch on 10 January, Harrison announced that he was leaving the band and told the others, “See you round the clubs.” Starr attributed Harrison’s exit to McCartney “dominating” him.

A week later the band agreed to Harrison’s terms for returning to the group: they would abandon the plan to stage a public concert, and relocate from the cavernous soundstage at Twickenham to their Apple Studio, where they would record a new album. Sessions commenced on 21 January at Apple Studio, in the basement of the Apple Corps building at 3 Savile Row, central London. Multi-track recording began on that date and ended on 31 January, along with filming.

Get Back mixes

Days after the sessions at Apple had ended, Glyn Johns put together a rough mix acetate of several songs for the band to listen to. A tape copy of this acetate made its way to the United States, where it was played on radio stations in Buffalo and Boston over September 1969.

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. 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 album). 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 five-minute edit of “Dig It“.

The cover of the proposed album featured a photograph of the Beatles by Angus McBean taken in the interior stairwell at EMI’s Manchester Square headquarters. 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. 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.

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’ 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. “I Me Mine” was newly recorded on 3 January 1970, as it appeared in the film and no multi-track recording had yet been made. The Beatles once again rejected the album.

Final mixing

Several songs from the recording sessions have been released officially in versions different from those on the Let It Be album. “Get Back” and “Don’t Let Me Down” were released on a single in April 1969 and “Let It Be” was the A-side of the band’s March 1970 single. Three tracks were recorded live from the rooftop performance: “I’ve Got a Feeling”, “One After 909” and “Dig a Pony”. An additional four tracks were recorded “live in the studio” with the band members playing together in a single take, and without overdubs or splicing: “Two of Us”, “Dig It”, “Get Back” and “Maggie Mae”. 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. The third track on the album is an edited version of the original 1968 recording of “Across the Universe”, 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.

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. McCartney unsuccessfully attempted to halt release of Spector’s version or at least have it altered. Lennon defended Spector’s work in his “Lennon Remembers” interview for Rolling Stone, saying, “he was given the shittiest load of badly recorded shit, with a lousy feeling toward it, ever. And he made something out of it. He did a great job.” In 2003, McCartney spearheaded Let It Be… Naked, an alternative mix of Let It Be that removes Spector’s embellishments.

Lennon chose not to credit Johns for his contribution as a producer. 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’.”

Packaging

In most countries except the United States, the Let It Be LP was originally presented in a box with a full colour book. The book contained photos from the January 1969 filming, by Ethan Russell; dialogue from the film, with all expletives removed at EMI’s insistence; and essays by Rolling Stone writers Jonathan Cott and David Dalton. Despite the new album title, the book was still titled Get Back. 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. The book’s lavishness increased production costs by 33 per cent, however, driving the retail price higher than for any previous Beatles album.

The LP cover was designed by John Kosh and includes individual photos of the four band members, again taken by Russell. 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.

Critical reception and legacy

Let It Be topped album charts in both America 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”. 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.” 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”. 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.”

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”. 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.” 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.”

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‘, with John and Paul harmonising together”. Let It Be was ranked number 86 in Rolling Stone‘s list of the 500 Greatest Albums of All Time in 2003, number 392 in the 2012 version, and number 342 in the 2020 edition.
It was voted number 890 in the third edition of Colin Larkin’s All Time Top 1000 Albums (2000).

In 1971, Let It Be won the Grammy Award for the Best Original Score Written for a Motion Picture or Television Special. Despite his objections to Spector’s embellishments and the expensive packaging, including the “blatant hype” printed on the LP’s back cover, McCartney personally accepted the band’s award. The Beatles also won the Academy Award for the Best Original Song Score for the songs in the film. In 1988, the Slovenian band Laibach released a thrash metal version of the album, also titled Let It Be.

Re-releases

In early 1976, when the Beatles’ EMI contract expired, the group’s subsequent pressings ceased sporting Apple labels, Capitol labels replacing them; Let It Be, however, went out of print in America for three years.

Let It Be… Naked

In 2003, a Paul McCartney–led remix of the album, titled Let It Be… Naked, was released. It is considered[by whom?] closer to its original artistic vision of the LP, to “get back” to the rock and roll sound of the band’s early years. On top of featuring different takes and edits of songs, mainly cutting out the extra bits added by Spector, the album excludes “Maggie Mae” and “Dig It“, while adding “Don’t Let Me Down“, which had been released as a single in 1969.

Deluxe Editions

In August 2021, the 50th anniversary deluxe box set was announced to coincide with the documentary The Beatles: Get Back, with a planned release date of 15 October 2021. It will feature a remix of the original Let It Be album by producer Giles Martin and engineer Sam Okell, along with session highlights, outtakes, and a remaster of producer Glyn Johns’ original 1969 Get Back mix. […]

Last updated on October 8, 2021

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