Happy 55th Anniversary to The Beatles’ twelfth & final studio album Let It Be, originally released May 8, 1970.
Growing up, I always associated the album Let It Be with the movie of the same title. Originally conceived as the “Get Back” project, Let It Be documents the Beatles’ attempt to return to their roots, recording live performances without overdubs. It also chronicles the demise of the world’s most famous band.
Producer George Martin described the Let It Be sessions as “not at all a happy recording experience. It was a time when relations between the Beatles were at their lowest ebb.” If you’ve never seen the movie, as of this writing, it is available on Disney Plus. I highly recommend it.
Released in 1970, Let It Be marks a significant moment in The Beatles’ legacy. Despite the group heading for an inevitable split, the LP features some of their most iconic songs, reflecting themes of hope, loss, and redemption. The album’s production contrasts with previous releases, aiming for a raw, emotional sound. Songs like “The Long and Winding Road” and the title track showcase the band’s melodic genius.
This approach, spearheaded by Paul McCartney, was intended to recapture the spontaneity of their early recordings with the promise of giving Martin more control. It was more like a last ditch effort to save their musical marriage. The sessions, however, were filled with so much tension that the album was ultimately shelved and later given a significant overhaul by producer Phil Spector.
The previously mentioned “The Long and Winding Road” showcases McCartney’s lyrical depth, evoking a sense of longing and reflection. His disdain for Spector’s production of the song has been well documented. The numerous disagreements and miscommunications regarding the song were emblematic of The Beatles’ universe at the time.
McCartney had been estranged from his bandmates, so it was left to John Lennon and George Harrison to give the band’s manager, Allen Klein, the go-ahead to turn the mixes over to Spector. He returned to EMI Studios with Ringo Starr being the only Beatle in attendance. Spector added orchestral overdubs and tape echo to “The Long and Winding Road,” “Across the Universe” and “I Me Mine.”
Listen to the Album:
For “The Long and Winding Road,” he used eight violins, four violas, four cellos, three trumpets, three trombones, two guitars, and a choir of fourteen women. McCartney’s version was vastly different from Spector’s Wall of Sound rendition. He was far from pleased with the results. In an interview with the Evening Standard, McCartney stated, “The album was finished a year ago, but a few months ago American record producer Phil Spector was called in by John Lennon to tidy up some of the tracks. But a few weeks ago, I was sent a re-mixed version of my song ‘The Long and Winding Road’ with harps, horns, an orchestra and women’s choir added. No one had asked me what I thought. I couldn’t believe it. I would never have female voices on a Beatles record.”
Despite the negativity surrounding the recording sessions, the band managed to get some special moments on wax. The songs “Get Back,” “One After 909,” and “I’ve Got a Feeling” are bursting with raw energy and infectious enthusiasm, perfectly embodying the band’s goal of recapturing the joyful spirit of their earlier work. The addition of Billy Preston on keyboards contributed that indescribable something extra The Beatles needed.
Sadly, Preston’s presence couldn’t hide the lack of cohesion among the band members. Let It Be is one of those rare occasions where you feel and hear the inner turmoil manifested in the album as a reflection of their fractured relationships. Some of the songs felt like the solitary creations of individual artists rather than the result of a collaborative effort. The lack of Martin’s guiding hand in the final recording sessions left a noticeable void.
In essence, Let It Be was a farewell that we were forced to say, a goodbye no one wanted...except the Beatles themselves. Let It Be may have been the last studio album released, but Abbey Road was recorded later, and in my opinion, served as a more fitting musical send-off. The release order of the Beatles’ final studio albums begs the question: what if Let It Be had been released before Abbey Road? How would such a shift in chronology have affected the perception of both albums?
Listen: