Let It Be

Download on iTunes

Once they started work on the Get Back project, it became clear to The Beatles that their collective enthusiasm was low. John Lennon was addicted to heroin and rarely enthused by the sessions, and arguments among the group eventually led to George Harrison temporarily leaving the band.

At the time The Beatles were exhausted after spending five months recording the White Album, and had also worked on Apple projects by James Taylor, Mary Hopkin, Jackie Lomax and solo works. At Twickenham they were forced to keep to film industry schedules, which involved starting work at 8.30am each day.

The cameras were kept rolling at all times, and captured the strains and tensions of this fragile period. However, there were many moments of true inspiration, and The Beatles' humour and warmth for one another was often evident.

There was some amazing stuff - their humour got to me as much as the music, and I didn't stop laughing for six weeks. John Lennon only had to walk in a room, and I'd just crack up. Their whole mood was wonderful, and that was the thing, and there was all this nonsense going on at the time about the problems surrounding the group, and the press being at them, and in fact, there they were, just doing it, having a wonderful time and being incredibly funny, and none of that's in the film.
Glyn Johns
The Record Producers

In the studio

The Beatles performed partial or complete versions of literally hundreds of cover versions and original songs in January 1969. These ranged from traditional songs and rock and roll classics to unreleased works-in-progress and those that eventually appeared on Let It Be, Abbey Road, and The Beatles' early solo albums. Among them were versions of Love Me Do, Child Of Nature, Something, Don't Let Me Down, All Things Must Pass, songs by Chuck Berry, Buddy Holly, Bob Dylan, George Formby, The Beach Boys and others, as well as blues-based improvisations, aimless jams, off-the-cuff song sketches and many hours of dialogue.

The Beatles worked at Twickenham from 2-14 January 1969. On 10 January George Harrison quit the band, after separate disagreements with John Lennon and Paul McCartney.

For me, to come back into the winter of discontent with The Beatles in Twickenham was very unhealthy and unhappy. But I can remember feeling quite optimistic about it. I thought, 'OK, it's the New Year and we have a new approach to recording.' I think the first couple of days were OK, but it was soon quite apparent that it was just the same as it had been when we were last in the studio, and it was going to be painful again. There was a lot of trivia and games being played.

As everybody knows, we never had much privacy - and now they were filming us rehearsing. One day there was a row going on between Paul and me. It's actually in the film: you can see where he's saying, 'Well, don't play this,' and I'm saying, 'I'll play whatever you want me to play, or I won't play at all if you don't want me to play. Whatever it is that will please you, I'll do it...'

They were filming us having a row. It never came to blows, but I thought, 'What's the point of this? I'm quite capable of being relatively happy on my own and I'm not able to be happy in this situation. I'm getting out of here.'

Everybody had gone through that. Ringo had left at one point. I know John wanted out. It was a very, very difficult, stressful time, and being filmed having a row as well was terrible. I got up and I thought, 'I'm not doing this any more. I'm out of here.'

George Harrison

After Harrison walked out of the Twickenham rehearsals, the other three Beatles carried on performing without him. At one point Yoko Ono wailed some vocals over their jamming. John Lennon can be heard on the tapes suggesting that if Harrison didn't return within a few days they should replace him with Eric Clapton.

George left because Paul and he were having a heated discussion. They weren't getting on that day and George decided to leave, but he didn't tell John or me or Paul. There'd been some tension going down in the morning, and arguments would go on anyway, so none of us realised until we went to lunch that George had gone home. When we came back he still wasn't there, so we started jamming violently. Paul was playing his bass into the amp and John was off, and I was playing some weird drumming that I hadn't done before. I don't play like that as a rule. Our reaction was really, really interesting at the time. And Yoko jumped in, of course; she was there.
Ringo Starr

Harrison was persuaded to rejoin on 15 January, during a five-hour meeting in which he insisted he would only rejoin if the idea of a live show was dropped. He also demanded that sessions be moved from Twickenham to a new studio in the basement of Apple's headquarters in Savile Row, London. He didn't object to The Beatles being filmed making their album, and his conditions didn't rule out a live performance for the cameras.

I was called to a meeting out in Elstead in Surrey, at Ringo’s house that he bought from Peter Sellers. It was decided that it would be better if we got back together and finished the record. Twickenham Studios were very cold and not a very nice atmosphere, so we decided to abandon that and go to Savile Row into the recording studio.
George Harrison

The Apple Studios sessions began on 21 January 1969. From the following day, until the end of the Let It Be recordings on 31 January, they were joined by keyboard player Billy Preston, who was in London performing with Ray Charles.

The Beatles knew Preston from their Hamburg days, and George Harrison invited him to participate in the sessions to help alleviate the tensions. Five of the songs on Let It Be featured Billy Preston on organ or electric piano, as did Don't Let Me Down, the b-side to the Get Back single, also recorded during the sessions.

Billy came down and I said, 'Remember Billy? Here he is – he can play the piano.' He got on the electric piano, and straight away there was 100% improvement in the vibe in the room. Having this fifth person was just enough to cut the ice that we'd created among ourselves. Billy didn't know all the politics and the games that had been going on, so in his innocence he got stuck in and gave an extra little kick to the band. Everybody was happier to have somebody else playing and it made what we were doing more enjoyable. We all played better and that was a great session. It was more or less just as it is on the record.
George Harrison

48 responses on “Let It Be

  1. antoni

    Let It Be, Naked or Not has two of Paul’s most long winded and nail scrapes aganst the blacboard. After seeing Anthology this past week, i forgot how he was the most annoying of the Beatles. Let It Be and Long and Winding Road could have ended a lot soone, but no, the camera’s were rolling. Let It Be was a recording of the breakup of a band and these two songs were the blueprint.

    1. Beatlesguru

      If you don’t like Paul McCartney then you don’t like the Beatles. Let it Be and Long and Winding Road are too of Paul’s masterpieces -as well as being two of the best songs on the Album. Really silly post..

    2. Mike

      An astonishing comment. Let It Be and The Long and Winding Road are both beautiful songs that showcase two of McCartney’s best vocal ballad performances. It’s true that the latter piece suffers somewhat from Phil Spector’s arrangement taking things a little too far. He should have left off the choir and harp; the other orchestral parts would have sufficed. But it’s still a great number nonetheless.

      As for being long winded, both songs clock in at under four minutes, which is a very typical length for a pop/rock song.

    3. johnlennonsrhythmguitar

      No, Antoni’s right. Echoed my thoughts exactly. The one time in fifteen years Paul actually impresses me with songs like Two Of Us and I’ve Got A Feeling, and all everyone wants to talk about is the overrated Long & Winding Road and the even more overrated Let It Be. This isn’t even to mention that two 40 second “songs” we’re included for seemingly no reason other than to say they had more tracks, that John’s incredible Don’t Let Me Down was excluded, and no one even mentions Across the Universe, one of the best on the album. What a mess. This is why I prefer the older albums

  2. Amphion

    Being brand spanking new to this particular Beatles site, I was just fixing a whole wear the rain gets in, when I suddenly found meself wonderin’, In 2003 there was mention that the Let It Be film was about to be released. This film was last screened on British BBC2, Television in about 1982. A Saturday, If I recall… But is it any closer to being released. Any ideas???

    1. Matt

      Engineers started remastering the film a while back but decided the film was too “controversial”. Paul and Ringo do not want it released either. I doubt it will be released any time soon, especially during Paul, Ringo, Yoko Ono and Olivia Harrison’s lifetimes.

  3. robert

    Here’s why LIB doesn’t work for me – and this may be picky but here goes: because it is supposed to be the soundtrack to a movie and was intended to replicate the feel of live performances, the problem I have is this – listen through head phones and notice how many times John’s voice is on one side and his guitar is on the other side.

    This completely wrecks the feel of a live performance. At least for me.

    Sorry I can’t help but notice it.

    Does anyone know if Paul fixed this on LIBN – I don’t have that CD.

    1. Joe Post author

      It shouldn’t really make a difference. With multitrack recording, a live performance can be taped with simultaneously-played instruments routed to different tracks, which can then be mixed to different parts of the stereo spectrum. Of course, that’s not to say that all of the LIB performances were live – there were a number of overdubs added once they’d thrown the ‘live’ concept out of the window.

      1. GeorgeTSimpson

        There are the overdubs done by spector onto three songs, the overdubs done by paul, ringo and george onto the song let it be and of course I Me Mine was recorded as though it were on the white album or abbey road (which was in fact a very good idea, they should have recorded the whole album in that way and it should have been produced by George Martin). Are there any other overdubs?

  4. McLerristarr

    “marked a move away from The Beatles’ elaborate studio experimentation of 1966 and 1967, with a return to more straightforward rock and roll, and the White Album and much of the Yellow Submarine soundtrack had followed in a similar vein.”

    I wouldn’t say much of the Yellow Submarine soundtrack was back to basics. There were 13 songs: 2 were repeats from previous albums/singles, 7 were George Martin’s orchestra songs, 2 were George Harrison’s songs neither of which sound back to basics, so that leaves 2 new Lennon-McCartney songs which could be called back to basics.

    And certainly not all the White Albums was back to basics – Revolution 9, Wild Honey Pie.

    1. Joe Post author

      I was referring to the ‘new’ songs on the YS soundtrack, though it probably needs clarifying. Certainly Hey Bulldog and All Together Now were a step away from their sound of 1967, though the George Harrison songs clearly aren’t.

      As for the White Album, you’re right that there were some complex recordings on there, but nothing like to the same degree of Sgt Pepper or Strawberry Fields Forever. Much of it is fairly straightforward, thought with liberal doses of Beatles magic.

  5. McLerristarr

    “And, let us not forget, even if the collection wasn’t The Beatles’ best, for many lesser bands these songs would have constituted a career peak.”

    Couldn’t agree more. When fans always talk about this isn’t good or whatever, what we really mean is compared to The Beatles’ other stuff it isn’t as good, but it is still amazing.

  6. robert

    Sorry Joe, but it does matter whether lennon’s voalcs and guitar are on the same stereo pan.

    of course multitracking makes it possible to put an instrument and/or vocal anywhere in the spectrum, but that doesn’t make it “work”.

    Even though the beatles abandoned the actual “live” recording technique, they still marketed and presented the album as a live experience – to go with the movie.

    The intended feel of the record is to experience a live beatles performance (even if it wasn’t). So it’s an anomaly to have a musician’s voice separated from his instrument.

    Of course perhaps I’m just too sensitive.

  7. Deadman

    With electric instruments and microphones and amplifiers, modern live music often features “a musician’s voice separated from his instrument”; it is not anomalous.

  8. Zig

    Even though this LP features my least favorite Beatles song, I still enjoy the heck out of it – Spectorized or not. In fact, I wish all of the songs on it were recorded “live” on the roof top. It would have been very refreshing to hear a live Beatles recording without the screaming.

    As an aside, I get a kick out of the Spector quote on page 5 of this article. I’m by no means a fan of his, but it’s the first time I’ve seen his defense in print. It’s actually pretty funny.

    1. Mike

      Spector’s defense of his orchestral arrangement for The Long and Winding Road is indeed funny. It would be even better if it were actually true.

      I’ve seen McCartney perform it live a couple of times within that 25-year span that Spector mentions. I’ve never heard any choir or harp, which were the major offenders for McCartney, as I recall.

      The ’76 live version has a very spare brass arrangement, minus strings, that bears no resemblance at all to Spector’s work on the Let It Be album. It actually sounds much closer to the Let It Be…Naked version than to the Let It Be album.

      The later performances in the late 80s and into the 90s have a bigger orchestral background. Those performances do borrow a few phrases here and there of the Spector arrangement, take some of the brass from the ’76 version, and add in some new wrinkles—but still no harps or choir.

      An example of that can be heard on Tripping the Live Fantastic (1990). The net effect is a somewhat scaled back version that is far from being a copy of the Spector arrangement. I would call it slightly reminiscent of the original but smaller and less epic sounding. In other words, it’s closer in style to George Martin than Phil Spector.

      So Spector’s claim and defense sounds good, but it’s way off the mark–unless McCartney has taken lately to performing it fully Spector style, which seems unlikely.

  9. Festival Days Off

    Dear all,

    We would like to inform you about the following event :

    LET IT BE live / The Beatles
    by Yael Naim, Mathias Malzieu, Cocoon, Loney Dear, David Donatien, Camille O’Sullivan, Sense of Sound Singers,…

    Paris (France), July 4th, Salle Pleyel

    For the 40th anniversary of the release of the album Let It Be, David Coulter, who has collaborated with artists like Damon Albarn, Tom Waits and Marianne Faithfull, unites a young generation of European musicians to reinterpret the Beatles’ last album.


  10. Frank

    I believe Paul made a mistake. He did allow female voices in their records. Yoko sang in The Continuing Story Of Bungalow Bill, and Yoko again along with Patti Harrison in Birthday. His wife Linda provided background vocals for Let It Be.

    1. vonbontee

      Yeah, and there was also the female choir in “Walrus” – and howbout those two Apple scruffs that Paul himself invited to sing on “Across The Universe”! He was either being wilfully obtuse, or exaggerating, or he had a terrible memory. (And the amount of dope he smoked would suggest the latter.) 🙂

  11. Jeff

    LIB is both fantastic and disappointing. Eventhough substandard by usual Beatle standards, the songs are worthy and hold up against anything other artists put out at the same time (hell, for the next 40 years for that matter!). It was a disappointment in that it actually could have been far, far better. The Beatles are openly apathetic on LIB. Also, George’s growth as a songwriter could have (had he been allowed to contribute more songs)partly made-up for John’s growing indifference, dwindling song contributions and a seeming drop in the quality of his contributions. All Things Must Pass absolutely deserved to have been properly recorded and included on LIB (and NOT in place of, but in addition to, For You Blue and I Me Mine). It is no wonder why George walked out during these sessions and became hesitant to work as a Beatle ever again. What a pity (which reminds us that Harrison’s brilliant song Isn’t It A Pity was another in a list of George composed tunes rejected for Beatle records by John, Paul and/or George Martin). Thankfully, George recorded these on his own after the group’s dissoluion.

    1. Julio

      It is funny that people think of John towards end as not writing much but he was actually very creative and writing a ton. He just did not want to write for the beatles. Look at his first two solo albums Plastic Ono Band and Imagine, they are full fledged releases. Paul’s first solo albums while they are charming and having their bits (and the masterpiece ‘Maybe Im Amazed) are bit rough and incomplete.

    1. mr. Sun king coming together

      Adding orchestra to a quarter of an album, while not doing anything else of his typical way isn’t bad. It’s called doing what you’re asked.

  12. rover

    I think Phil Spector is treated unfairly when it comes to LIB. He had the unenviable task of wading through hours of recordings and make something of it–all with virtually no input for the band. The only sin Spector committed was not being George Martin. Martin is tasteful and understated; Spector (on all his works) is melodramatic and over-the-top. Spector simply delivered a Spector production. Lennon was reportedly happy with it. I have little patience for McCartney’s complaints. A bit like crying over spilt milk.

    1. Joe Post author

      Actually I don’t think Spector did wade through that many hours of tapes. Most of the selection and filtering was done by Glyn Johns prior to Spector arriving.

      When Spector began work he hit the ground running, completing his work in a matter of days (he needed just seven recording and mixing sessions in March and April 1970), with George Harrison and Allen Klein apparently present for most of the sessions. Ringo Starr even played on one.

  13. GeorgeTSimpson

    I alway wondered why george was at most (or all) of the Spector sessions, but didn’t do the guitar overdubs which were probably done by some session guitarists. Maybe it was him on guitar but then we would know it (we also know that ringo did the drum overdubs). I really wonder who these guitarists were, maybe it was someone famous like eric clapton or so. But probably it will always be a secret who did the guitar overdubs on the long and winding road (and maybe on the other two songs)

  14. brian

    I find this album to be sort of like that lost piece that you would love to retrieve, and it should be possible, yet, you can’t grasp it. What should this album really sound like? How should I hear it? Can I ever just enjoy it for what it is (the music is not terrible)? Aren;t the Beatles even apathetic, still worthy of that mystique that John says is gone? Should I listen to which version? Was perhaps the Glyns Get Back first or second version the way it should have been? Did Paul have the chance to save some of it in Naked, yet even he didn’t quite get it right?
    As to defending or attacking Spector… I like his work from the 50’s for sure. But don’t see him as a producer for the Beatles. The thing is, he did what he thought was good, and I can stomach much of it (haven;t tried the winding road lately though). But I love Across the Universe. What bothers me, is that he adds such elaborate stiff to Beatle’s songs without Paul’s approval. In fact, Paul can not even change it after complaining. As an artist, this truly bothers me. I do not like the idea of hearing Beatle’s tracks with significant changes made by outside people that some of them would not have even preferred to work with.
    Yet, if the group had been more coherent and civil by then, and perhaps less lazy, they could have seen it through. But maybe mistakes are what they are for a reason. Maybe it is better that the album is what it is and tells the story it tells. Maybe seeing a group like the Beatle’s not realize something is dramatic and powerful in a sense. Maybe if John wasn’t on ‘H’ he could have been more willing to be workable. Maybe Paul forced the idea on the others way too much. Why does money and business get such a say in determining art. So what if they needed another money. I would rather violate the contract and lose money (easy for me to say) than compromise the well being of the band and make an unenthusiastic project.
    So much to say about all this… now how to listen?

  15. robert

    There is a great and amazing album in there, but it’s never come out – not Glyn Johns, not Spector, not Paul’s. It’s like there’s a dullness to the sound – like a mask over the sound – it’s almost muffled. The crystal quality of their earlier recordings is missing. Was it their lousy attitude, bad recording equipment and set up at Apple versus Abbey Road, George Martin’s apathy from being told by Lennon “none of your production crap” – something’s missing – Lennon was right when he called it “lifeless” and it’s a shame because there is a great magnificent album in there.

  16. Chris Schneider

    Any chance that the movie would see the light of day again? This may sound crazy, but Let It Be is one of my favorite Beatles albums; despite some studio chicanery by Phil “Capitol Murder” Spector, the songs sound fresh, as if they listened to “I Want to Hold Your Hand” and enjoyed it.

  17. dn112

    Why did Paul McCartney leave the Get Back/Let It Be session tapes sitting around for over a year? He supervised the Get Back/Don’t Let Me Down single release, why didn’t he complete the album for release? How would Beatles history have been different if the album had come out in April 1969?

    Side 1 could have been the rooftop performance – Get Back/Don’t Let Me Down/Dig A Pony/I’ve Got A Feeling/One After 909/Get Back reprise. Side 2 studio performance – Let It Be/For You Blue/Across The Universe/Two Of Us/Dig It/Long and Winding Road.

  18. Hammer 109

    i just downloaded LIB – Naked and I’ve been listening to it constantly. I have always contended that, when all is said and done, The Beatles were just a rock band. And LIB Naked lets them be a rock band. The guitars come through – it’s clean, it cooks, it’s great. Even though they were done with each other, you don’t get that from the album. Paul and John singing together on Two of Us is magic. One After 909 is pure joy. I Dig a Pony is Lennon at his cheeky best. My only criticism is Long and Winding Road, which I’ve never liked. I listened to this version with great anticipation, thinking now I would finally get to appreciate it. But no. It’s still a crappy song. Maybe with just vocal and an acoustic guitar it might work better. Sorry, Paul.


    Many people are trying to “remake” this album into something else – something they wish it to be. “Let it be naked” is that album. The original is simply… what it is. It is a documentary put to music. In early ’69 the group was falling apart. Let It Be is a sad epitaph for a dying rock band. Adding or removing songs from their “Last album” is fruitless. ( Abbey Road was the last recorded with a few minor additions to Let it Be).

    A better exercise would be to take the best songs from their individual albums and single releases from ’70 and ’71 and create a double album – ala “White Album”. Between the four, their is enough “Beatle” sound to compile a really good album. Much like the White album, it would reflect individual styles and still retain a familiar, distinct sound. I would stop after December ’71 due to placing a time limit of music release, and distinct drop in quality of solo material in general from the members after ’71. I would not include any thing from “Wings Wildlife” or Lennon’s other albums.

    Songs could be from the following Albums:
    Plastic Ono Band
    Plastic Ono Band – Live In Peace Toronto
    All Things Must Pass

    Singles could include:
    HI, HI, HI
    Another Day
    Don’t Come Easy
    Back Off Bugaloo
    Instant Karma
    Cold Turkey (if not from Live in Peace Toronto)
    Come and Get It* – sorry Bad Finger, we’ll keep this one to ourselves

    Could still be a fun exercise to compile these songs into a double album and wonder “What if?”.
    Just a few thoughts.

  20. Doug Pitts

    I agree. If you’re in the audience, unless you’re sitting extremely close to the group, you would not hear voice on one side, guitar on the other. It would all be in the mix. Sounding more separated than a mono recording, but definitely nowhere near hard or even medium panned.

  21. 4-track mind

    Hi Joe, setting aside the debate that Ringo actually played the svaramandal on an early take of “Across The Universe,” the instrument is not used on the final version, and therefore doesn’t appear on the Let It Be LP. Shouldn’t it be deleted from the album credits (otherwise Lizzie Bravo and Gayleen Pease deserve credit for backing vocals?). I only mention this because students in my class visit your site regularly and this tripped a few of them up. Keep up the good work!

    1. Joe Post author

      Are you sure it’s not in the Spector mix? I thought I heard it in a few places, particularly towards the end. Lizzie and Gayleen are included on the Across The Universe article, but they don’t feature on this album.

  22. Graham Paterson

    Despite the controversies surrounding this album I love it, having got it back in 1978 as a 12 year old.John Lennons Across The Universe is beautiful and one of his best. Let It Be is a great song and one of Paul McCartneys finest. As is The Long and Winding Road, though McCartney hated Phil Spectors production of it which is fair enough. Get Back is a great rock song and I love The Two Of Us, I Me Mine, Dig A Pony and the One After 909, which Lennon and McCartney wrote back in the early days in Liverpool.

  23. cold turkey 1987

    While this album contains a certain dullness of sound there are none the less some hidden, if not totally underrated classsics such as I, me, mine and don’t let me down. If you count lib…naked that is.

  24. manteau

    Let it be was my first Beatles single and LP. I can’t really listen to it any longer as I remember spending whole nights listening to this album! I’ve got the movie too now, plus “naked” and various bootlegs from the same sessions. Stand out songs are “two of us”, “across the universe”, One after 909 and “for you blue”. I can’t be rational when it comes to this album, too much of my teen age in it!

Leave a reply