. The Beatles were unaware of this until fans showed them the cover during their only Australian tour, and informed the EMI publicity staff that they were not pleased with the substitution. [30] Track listing [ edit ]
  • George Martin – arrangement, production and mixing; organ on I Wanna Be Your Man, piano on "You Really Got a Hold on Me", "Not a Second Time" and "Money"
  • 5.

    1 Charts " Don't Bother Me" ( George Harrison) 2:13 2:14 2:07

  • 30 July: "Please Mr. Postman", "It Won't Be Long", "Money", "Till There Was You", "Roll Over Beethoven", and "All My Loving" [18]
  • 2 Packaging According to Mark Lewisohn: [31] Lennon with McCartney Lennon and Harrison 3:01
  • 18 July: "You Really Got a Hold on Me", "Money (That's What I Want)", "Devil in Her Heart" and "Till There Was You" [18] " Till There Was You" ( Meredith Willson) Music critic John Harris finds the cover most reminiscent of the photos Kirchherr took in Hamburg of Lennon, Harrison and Stuart Sutcliffe using the "half-lit technique" and says that, together with songs such as "Roll Over Beethoven" and "Money (That's What I Want)", With the Beatles thereby represents "a canny repackaging of their early '60s incarnation: Hamburg shorn of Prellies and leather, and sold to their public as a mixture of accomplished rock 'n' roll and art-house cool". Harris also sees the LP cover as a "watershed" design that encouraged other acts to eschew "the more cartoonish aspects of pop photography" and continued to exert an influence in the 1970s on covers such as those for Lou Reed's Transformer, Patti Smith's Horses and various punk rock albums.

    [29] All tracks written by Lennon–McCartney, except where noted. Side one

  • 3 October: "I Wanna Be Your Man" and "Little Child" [21] Packaging [ edit ] " Devil in Her Heart" (Richard Drapkin)
  • 5 Charts and certifications " Please Mr. Postman" ( Georgia Dobbins, William Garrett, Freddie Gorman, Brian Holland, Robert Bateman)
  • 23 October: "I Wanna Be Your Man" [23]
  • 8 Other sources
  • 17 October: " I Want to Hold Your Hand", " This Boy", and "You Really Got a Hold on Me".

    This was the Beatles' first session to use four-track recording. "I Want to Hold Your Hand" and "This Boy" were the A-side and B-side of the Beatles' next single, released on 29 November. [22] 2:45

  • 12 September: "Hold Me Tight" "Don't Bother Me", "Little Child" and "I Wanna Be Your Man" [20] " You Really Got a Hold on Me" ( Smokey Robinson)
  • 4 Personnel
  • Norman Smith – engineering and mixing " Money (That's What I Want)" ( Janie Bradford, Berry Gordy)
  • 3 Track listing Unlike Please Please Me, the bulk of whose tracks (10 of the 14, excluding previously issued singles) were recorded in one day, [17] With the Beatles was recorded over seven sessions across three months, from 18 July to 23 October.

    None of its 14 tracks were issued as singles in the UK. In between sessions, as Beatlemania took off across the UK, the group were busy with radio, TV, and live performances. The sessions featured:

  • Paul McCartney – lead, harmony and backing vocals; bass guitar and handclaps; piano on "Little Child", claves on "Don't Bother Me" Recording [ edit ]
  • 11 September: "I Wanna Be Your Man", "Little Child", "All I've Got to Do", "Not a Second Time" and "Don't Bother Me" [19] 2:32
  • 5.

    2 Certifications

  • 1 Recording 2:02 " Roll Over Beethoven" ( Chuck Berry)
  • Robert Freeman – cover photograph
  • John Lennon – lead, harmony and backing vocals; rhythm and acoustic guitars; handclaps; harmonica on “Little Child”; nylon-string acoustic guitar on "Till There Was You"; tambourine on "Don't Bother Me" Production 2:49 Impressed with Robert Freeman's black-and-white pictures of John Coltrane, Brian Epstein invited the photographer to create the cover image. [24] George Harrison later said that, whereas the cover of Please Please Me had been "crap", their second LP was "the beginning of us being actively involved in The Beatles' artwork. The first one where we thought, 'Hey, let's get artistic. '" [25] The group asked Freeman to take inspiration from pictures their friend Astrid Kirchherr had taken in Hamburg between 1960 and 1962, featuring the band members in half-shadow and not smiling
    .

    [26] To achieve this result, on 22 August 1963, Freeman photographed them in a dark corridor of the Palace Court Hotel in Bournemouth, where the band were playing a summer residency at the local Gaumont Cinema. [27] To fit the square format of the cover, he put Ringo Starr in the bottom right corner, "since he was the last to join the group.

    [28] Paul McCartney described the result as "very moody", adding: "people think he must have worked at [it] forever and ever. He sat down, took a couple of rolls, and he had it.

    " [27] The original concept was to paint the picture from edge to edge, with no bleeding, title or artist credit – a concept that went against music industry practice and was immediately vetoed by EMI. The first album to carry an edge-to-edge cover was the Rolling Stones' self-titled debut, released five months later. [29] EMI also objected to the fact that the Beatles were not smiling; it was only after George Martin intervened, as head of Parlophone, that the cover portrait was approved.

    [29] Freeman was paid £75 for his work, which was three times the fee first offered by EMI. Naked

  • ^ "The Beatles – Let It Be (album review 2) – Sputnikmusic".

    B− [19]

  • ^ Schweighardt & Sulpy 1999, p.
  • ^ a b Lewisohn 1988, p. 1/10 [25]
  • ^ a b Harris, John (2003). Mojo: The Beatles' Final Years Special Edition.
  • ^ "Official Albums Chart Top 100 (13 September 2009 - 19 September 2009)".
  • ^ Schweighardt & Sulpy 1997, p.
  • ^ Rolling Stone 2007. The rehearsals quickly disintegrated into what one biographer characterised as a "hostile lethargy".

    [6] On the first day, both Lennon and Harrison complained about the venue they were using to rehearse in

    . Although the very first song to be worked on, " I've Got a Feeling", had been semi co-written by Lennon and McCartney in the days leading up to the start, Lennon quickly ran out of ideas himself, and showed little interest in the songs McCartney and in particular Harrison were offering. Unable to generate much enthusiasm or focus their attention, the Beatles' playing was largely ragged and unprofessional, not helped by the fact that they were severely out of practice at playing as a live ensemble.

    McCartney tried to organise and encourage his bandmates, but his attempts to hold the band together and rally spirits were seen by the others as controlling and patronising. Matters came to a head on 6 January, when Harrison had a heated argument with McCartney during a rehearsal of " Two of Us", which later became one of the most famous sequences in the Let It Be film. What is not shown in the film is another, allegedly much more severe argument that Harrison had with Lennon on 10 January.

    Harrison had become fed up with Lennon's creative and communicative disengagement from the band, and the two had a heated row during the day's lunch break. According to journalist Michael Housego of the Daily Sketch, this descended into violence with Harrison and Lennon allegedly throwing punches at each other. Harrison denied this in a 16 January interview for the Daily Express, saying: "There was no punch-up. " After lunch, Harrison announced that he was "leaving the band now" and told the others "see you round the clubs". [7] He promptly drove to his Esher home, Kinfauns, where he documented his frustrations with the group in a new composition, " Wah-Wah".

  • 1 Background
  • Recording data and notes
  • ^ Unterberger, Richie.
  • ^ Brown, Peter and Steven Gaines, The Love You Make: An Insider's Story of the Beatles.

    The other three Beatles were less enthusiastic about McCartney's proposals. They had just completed five months' work on their previous album and were sceptical about the prospects of returning to live performance. [ citation needed] George Harrison in particular was opposed to the idea of touring, having taken the strongest dislike of any in the group to the gruelling tours of the Beatlemania era

    .

    [4] However, he had recently enjoyed a series of jam sessions with Bob Dylan and the Band in America, rediscovering his liking for straightforward ensemble playing, and was attracted to the idea of the "back to basics" approach. [ citation needed] The same approach greatly appealed to John Lennon, who had grown increasingly weary of what he regarded as the excessive technical artifice used on their recordings since Revolver and had also made a recent return to no-frills ensemble playing with an appearance on The Rolling Stones Rock and Roll Circus. [ citation needed] In addition, all the group members had greatly enjoyed the recording of Lennon's The Beatles track " Happiness Is a Warm Gun", which, due to its multiple sections and time signature changes, had required the Beatles to focus sharply and revive their ensemble playing skills to lay down a coherent basic rhythm track.

    In the end, the group agreed to convene for rehearsals immediately following 1 January 1969, even though no firm direction for the new project had been agreed on. [ citation needed] Recording and production [ edit ]

  • ^ "The 43rd Academy Awards, 1971".

    Academy of Motion Picture Arts and Sciences.

  • 5 Track listing
  • 4. 4 Final mixing Wikiquote has quotations related to: Let It Be (Beatles album)
  • ^ "mexicancharts.

  • ^ McLeese, Don (26 October 1987).

    Archived from the original on 8 January 2018.

    Several songs from the recording sessions have been released officially in versions different from those on the Let It Be album. "Get Back"/"Don't Let Me Down" and "Let It Be" were released as singles in 1969 and 1970, respectively. [14] Seven tracks were live performances, in accordance with the original album concept: "I've Got a Feeling", "One After 909" and "Dig a Pony" from the rooftop performance, and "Two of Us", "Dig It", "Get Back" and "Maggie Mae" (not to be confused with the Rod Stewart song of the same name) from studio sessions.

    Contrary to the original concept, the album versions of "For You Blue", "I Me Mine", "Let It Be" and "The Long and Winding Road" feature editing, splicing and/or overdubs. "Don't Let Me Down", also recorded live and previously released as the B-side of "Get Back", was not included on the album. [15] The third track on the album is an edited version of the original 1968 recording of "Across the Universe", slowed down from D-natural to D-flat, which had only been rehearsed at Twickenham and not professionally recorded on multi-track tape during the January 1969 sessions.

    [16]

  • ^ Spitz 2005, p. By late 1968, more than two years after the Beatles gave up touring, Paul McCartney was eager for the group to perform live again.

    The sessions for that year's The Beatles (commonly known as the "White Album") had seen a number of serious arguments and strained relations among the group. [3] McCartney felt that the band's cohesiveness had been lost through years without playing live, and from each Beatle playing parts individually in the studio and using overdubs rather than as a group. He believed that the best way to improve band relations and revive enthusiasm was to get the group back into rehearsal as quickly as possible and begin work on a new album that made little or no use of studio artifice or multiple overdubbing.

    [ citation needed] This would allow the group to return to their roots by playing as a true ensemble, recording some or all of the new album during a one-off live concert or full concert tour. This idea mirrored the "back to basics" attitude of a number of rock musicians at this time in reaction against the psychedelic and progressive music dominant in the previous two years. The concert itself would be filmed for broadcast on worldwide television, with the album released to coincide with it.

  • ^ "Album Search: The Beatles – Let It Be" (ASP) (in German).

  • 2 Recording and production Chicago Sun-Times 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". [34] Despite a mixed review from Rolling Stone at the time of its release, the album was ranked number 86 in the magazine's list of the 500 greatest albums of all time in 2003 [35] but was moved down to number 392 in the 2012 version.

    [36] Release history [ edit ] Original release [ edit ]

  • Lewisohn, Mark (1996). The Complete Beatles Chronicle.
  • ^ Doggett, Peter (2011). You Never Give Me Your Money: The Beatles After the Breakup. At The Beatles – Let It Be" (ASP). Nz The Beatles – Let It Be" (ASP).

    Recording Industry Association of New Zealand. 4/5 [27]

  • ^ Richardson, Mark (10 September 2009).

  • ^ a b "The Beatles - Full official Chart History".

    Sputnikmusic

  • ^ "swedishcharts. Com The Beatles – Let It Be" (ASP) (in Swedish). Nl The Beatles – Let It Be" (ASP).

    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"

    . [32] 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. " [33] 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. " [33]

  • ^ a b "Top-ten of the Japanese Year-End Albums Charts 1970–1974" (in Japanese). Archived from the original on 16 July 2012.

    McCartney was deeply 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.

    Despite the criticisms levelled at Spector over the years for his handling of the material, Lennon defended him in his December 1970 Rolling Stone interview, saying, "He was given the shittiest load of badly-recorded shit with a lousy feeling to it ever, and he made something of it. " When EMI informed Martin that he would not get a production credit because Spector produced the final version, he commented "I produced the original, and what you should do is have a credit saying 'Produced by George Martin, over-produced by Phil Spector'". [17] Critical reception [ edit ] Professional ratings

  • ^ Schweighardt & Sulpy 1997, p.
  • ^ Badman, Keith (2001). The Beatles Diary Volume 2: After the Break-Up 1970–2001.
  • ^ "American album certifications – The Beatles – Let It Be". Recording Industry Association of America. If necessary, click Advanced , then click Format , then select Album , then click SEARCH.
  • ^ "French album certifications – The Beatles – Let It Be" (in French). Select THE BEATLES and click OK.

  • Schweighardt, Ray; Sulpy, Doug (1999). Get Back: The Unauthorized Chronicle of the Beatles "Let It Be" Disaster.
  • ^ "The Beatles – Let It Be" (ASP).

  • ^ "ARIA Charts – Accreditations – 2009 Albums". Australian Recording Industry Association.

    In March 1970, American producer Phil Spector was brought in by business manager Allen Klein to work on the album. Spector remixed all of the tracks, adding orchestra and choir to three tracks, and compiled the eventually released album – by now entitled Let It Be. The album and the film of the same name were released on 8 May 1970; the Beatles had already broken up by that time.

    The film captured the critical tensions within the band, and also included footage from the rooftop concert. The rooftop performance closed with the song "Get Back", and afterwards Lennon said, "I'd like to say 'thank you' on behalf of the group and ourselves, and I hope we passed the audition. " The joke was added to the studio version of the song that appeared on the album, referring to the group's rejection by Decca Records in 1962.

    A− [22]

  • 4 Release history Since all the rehearsals were to be filmed by Michael Lindsay-Hogg and his film crew, the decision was made to use a film studio for rehearsals and the sound stage at Twickenham Studios was chosen. Rehearsals began on 2 January 1969. Sound recordings were made on Nagra mono recorders solely for the purpose of the film sound track; no professional multi-track recordings were made of the Twickenham sessions as the Beatles were simply rehearsing for a proposed live performance.

    Phil Spector later used a snippet of dialogue from one of these rehearsals (Lennon announcing "Queen says no to pot-smoking FBI members") to introduce " For You Blue" on the finished album. Numerous bootleg records taken from the many hours of soundtrack recordings are in wide circulation, and various bits of music and dialogue from the same source were eventually used on the second disc of the 2003 release Let It Be. [23]

  • ^ Billboard – Google Books.

    BIZ – TOP POP ALBUMS OF 1970".

  • "The RS 500 Greatest Albums of All Time".

  • 3 Critical reception
  • ^ Partridge, Kenneth (8 May 2015). "The Beatles' 'Let It Be' at 45: Classic Track-by-Track Album Review". McCartney also decided to invite audio engineer Glyn Johns to contribute to the recording. [ citation needed] His proposed role was apparently not clearly defined, as McCartney also wished to retain the services of George Martin.

    As a result, Johns was not entirely sure whether he was supposed to be producing (or co-producing) the album or merely engineering it, with Martin having no clear idea of where he stood either. [ citation needed] As it turned out, Johns acted as engineer, while the band used Martin for advice and ideas as they worked.

    Com The Beatles – Let It Be" (ASP). 1 Twickenham rehearsals

  • ^ Smith, Alan (9 May 1970).

    "The Beatles: Let It Be (Apple)". Available at Rock's Backpages (subscription required).

  • ^ Mendelsohn, John (11 June 1970).

    "The Beatles Let It Be Album Review".

    The Beatles' " Let It Be" from Let It Be Let It Be topped albums 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". [28] 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.

    " [29] 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". [30] 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.

    " [31]

  • ^ Lewis, Michael; Spignesi, Stephen J. 100 Best Beatles Songs: A Passionate Fan's Guide.

    The rehearsals and recording sessions for the album did not run smoothly. The acrimony that began during the recording of the White Album resumed soon after the rehearsals began. The Beatles were not getting along, and Lennon and McCartney weren't working together as before.

    McCartney assumed the role of the leader, while a detached Lennon was more interested in spending time and making music with his soon-to-be wife Yoko Ono, who was present in the studio with him at all times. Lennon was in a fragile emotional state, with Ono having suffered a miscarriage of their child just six weeks before the start of the sessions, following a drug bust the month before. All of these factors led to friction within the band.

    At one point, Harrison quit the group after several arguments with McCartney and a falling out with Lennon, due to the former's perfectionism and the latter's disengagement. Harrison was coaxed back a few days later. The film version is famous for showcasing a number of conflicts between the group members and has frequently been referred to as a documentary that was intended to show the making of an album but instead shows "the break-up of a band".

    [5] [ verification needed] Twickenham rehearsals [ edit ]

  • ^ "British album certifications – The Beatles – Let It Be". British Phonographic Industry.

    Select albums in the Format field. Select Gold in the Certification field. Type Let It Be in the "Search BPI Awards" field and then press Enter.

  • ^ "The Beatles – Let It Be – hitparade.
  • The British Beatles Fanclub
  • The Lost Beatle Tapes / The Making of Let It Be
  • ^ a b "Yamachan Land (Japanese Chart Archives) > Albums Chart Daijiten > The Beatles" (in Japanese). Archived from the original on 19 December 2012.

  • ^ Unterberger, Richie. 2 Continued sessions Continued sessions [ edit ] Christgau's Record Guide
  • ^ Christgau, Robert (1981). Christgau's Record Guide: Rock Albums of the '70s. Retrieved 3 October 2015 – via robertchristgau.

  • ^ a b Classic Rock Magazine, September 2014, "Let It Be saw the band return to their R&B and blues roots"
  • ^ Schweighardt & Sulpy 1999, p. Billboard
  • ^ a b Lewisohn 1988, p.
  • ^ "Swedish Charts 1969–1972" (PDF) (in Swedish). Com The Beatles – Let It Be" (ASP).

    Com The Beatles – Let It Be" (ASP).

  • ^ Schweighardt & Sulpy 1999, p.
  • ^ McCormick, Neil (8 September 2009). "The Beatles – Let It Be (8th May, 1970), review"
    .
  • ^ "Highest position and charting weeks of Let It Be (2009 Remaster) by The Beatles". Rolling Stone – Special Collectors Issue – The 500 Greatest Albums of All Time. ISBN 978-7-09-893419-6
  • ^ "1970s Albums Chart Archive". Archived from the original on 6 October 2009.
  • ^ Klosterman, Chuck (8 September 2009). "Chuck Klosterman Repeats The Beatles". Archived from the original on 26 May 2013. Be The Beatles – Let It Be" (ASP).

    Com The Beatles – Let It Be" (ASP).

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    Background [ edit ] Problems playing this file? See media help.

  • ^ Larkin, Colin (2006).
  • ^ Sheffield, Rob (2004).

    In Brackett, Nathan; Hoard, Christian (eds. The New Rolling Stone Album Guide (4th ed.

  • ^ "RPM – Library and Archives Canada".
  • ^ Sulpy & Schweighardt 1997.

  • MacDonald, Ian (2007).
  • Sulpy, Doug; Schweighardt, Ray (1997). Get Back: The Unauthorized Chronicle of the Beatles "Let It Be" Disaster.