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Let It Be(album)

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For other albums with the same name, seeLet It Be (disambiguation) § Albums.
Let It Be
A black cover with four square photos of the band members' faces
Studio albumby
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
VenueApple Corps rooftop,London
StudioApple,EMIandOlympic Sound,London
Genre
Length35:10
LabelApple
ProducerPhil Spector
The Beatleschronology
Abbey Road
(1969) 		Let It Be
(1970) 		The Beatles' Christmas Album
(1970)
The BeatlesNorth Americanchronology
Hey Jude
(1970) 		Let It Be
(1970) 		From Then to You
(1970)
SinglesfromLet It Be
  1. "Get Back"
    Released: 11 April 1969
  2. "Let It Be"
    Released: 6 March 1970
  3. "The Long and Winding Road"
    Released: 11 May 1970

Let It Beis the twelfth and finalstudio albumby the Englishrockbandthe Beatles.It was released on 8 May 1970, nearly a month following the official announcement ofthe group's public break-up,in tandem with thedocumentary of the same name.Concerned about recent friction within the band,Paul McCartneyhad conceived the project as an attempt to reinvigorate the group by returning to simplerrock 'n' rollconfigurations.[2]Its rehearsals started atTwickenham Film Studioson 2 January 1969 as part of a planned television documentary showing the Beatles' return to live performance.

The filmed rehearsals were marked by ill feeling, leading toGeorge Harrison's temporary departure from the group. As a condition of his return, the members reconvened at their ownApple Studio,and recruited guest keyboardistBilly Preston.Together, they performed afamous single public concert held on the studio's rooftopon 30 January, from which three of the album's tracks were drawn. In April, the Beatles issued the lead single "Get Back",backed with"Don't Let Me Down",after which engineerGlyn Johnsprepared and submitted mixes of the album, then titledGet Back,which the band rejected. As bootlegs of these mixes circulated widely among fans,[2]the project lay in limbo, and the group moved on to the recording ofAbbey Road,released that September.

In January 1970, four months afterJohn Lennondeparted from the band, the remaining Beatles completed "Let It Be"and recorded"I Me Mine".The former was issued as the second single from the album with production byGeorge Martin.When the documentary film was resurrected for a cinema release, asLet It Be,Lennon and Harrison asked American producerPhil Spectorto assemble the accompanying album. Among Spector's choices was to include a 1968 take of "Across the Universe"and apply orchestral and choral overdubs to" Let It Be "," Across the Universe "and"The Long and Winding Road".His work offended McCartney, particularly in the case of the latter, which was the third and final single of the album.

Let It Betopped record charts in several countries, including both the UK and the US, but was a critical failure at the time, and came to be regarded as one of the most controversial rock albums in history.[3][4]In 2003, McCartney spearheadedLet It Be... Naked,an alternative version ofLet It Bethat removes Spector's embellishments and alters the tracklist. In 2021,another remixed and expanded edition ofLet It Bewas released with session highlights and the original 1969Get Backmix, coinciding withThe Beatles: Get Back,an eight-hour documentary series covering the January 1969 sessions and rooftop concert.

Background

[edit]

The Beatlescompleted the five-month sessions for theirself-titled double album(also known as the "White Album" ) in mid-October 1968.[5]While the sessions had revealed deep divisions within the group for the first time, leading toRingo Starrquitting 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 Lennonenthused to music journalistJonathan Cottthat the Beatles were "coming out of our shell... kind of saying: remember what it was like toplay?"[6]George Harrisonwelcomed the return to the band's roots, saying that they were aiming "to get as funky as we were inthe Cavern".[7]

Concerned about the friction over the previous year,Paul McCartneywas eager for the Beatles to perform live again.[8]In early October 1968, he told the press that the band would soon play a live show for subsequent broadcast in a TV special.[9]The following month,Apple Corpsannounced that the Beatles had bookedthe Roundhousein north London for 12–23 December and would perform at least one concert during that time.[10]When this plan came to nothing, Denis O'Dell, the head ofApple Films,suggested that the group be filmed rehearsing atTwickenham Film Studios,in preparation for their return to live performance,[11]since he had booked studio space there to shootThe Magic Christian.[12]

The initial plan was that the rehearsal footage would be edited into a short TV documentary promoting the main TV special, in which the Beatles would perform a public concert or perhaps two concerts.[11][13]Michael Lindsay-Hogghad agreed to direct the project, having worked with the band on some of their promotional films.[11]The project's timeline was dictated by Harrison being away in the United States until Christmas and Starr's commitment to begin filming his role inThe Magic Christianin February 1969.[14]The band intended to perform only new material and were therefore under pressure to finish writing an album's worth of songs.[15]Although the concert venue was not established when rehearsals began on 2 January,[16]it was decided that the 18th would serve as a potential dress rehearsal day; the 19th and 20th would serve as concert dates.[17]

Recording and production

[edit]

Twickenham rehearsals

[edit]

It was a disaster. They were still exhausted from the marathonThe Beatlessessions. Paul Boss ed 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 executivePeter Browncharacterised as a "hostile lethargy".[18]Lennon and his partnerYoko Onohad descended intoheroin addictionafter 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 withBob Dylanandthe Bandinupstate New Yorkthat 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 theDaily 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 theDaily 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

[edit]

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 theirApple 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 mi xing equipment designed by Lennon's friend"Magic" Alex Mardas[35]and installed at Apple Studio, in the basement of the Apple Corps building at 3Savile Row.ProducerGeorge Martin,who had been only a marginal presence at Twickenham, arranged to borrow two four-track recorders fromEMI Studios;[36]he and audio engineerGlyn Johnsthen 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 keyboardistBilly Prestonto participate, after meeting him outside the Apple building on 22 January.[35]Preston contributed to most of the recording and also became anApple Recordsartist.[38]McCartney and Lindsay-Hogg continued to hope for a public concert by the Beatles to cap the project.[36]Recording (and filming) wrapped on 31 January.[39]

Get Backmixes

[edit]
Cover of the abortedGet Backalbum, mirroring the cover of the band's first album,Please Please Me

Days after the sessions at Apple, Glyn Johns put together a rough-mixacetateof several songs for the band to listen to. This is often referred to as the "Untouched" or Elecktra mix and includes false starts and studio banter throughout.[citation needed]

In early March, Lennon and McCartney called Johns to Abbey Road and offered him free rein to compile an album from theGet Backrecordings.[40]Johns booked time atOlympic Studiosbetween 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 theLet It Befilm; theLet It Bealbum 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 ajamcalled "Rocker", a brief rendition ofthe Drifters' "Save the Last Dance for Me",Lennon's"Don't Let Me Down"and a four-minute edit of"Dig It".[41][nb 2]A tape copy of this acetate would later make its way to the United States, where it was played on radio stations inBuffaloandBostonover September 1969.[43]

The cover of the proposed album featured a photograph of the Beatles taken byAngus McBeanon 13 May in the interior stairwell atEMI'sManchester Squareheadquarters.[44][45]The photo was intended as an update of the group'sPlease Please Mecover image from 1963 and was particularly favoured by Lennon. The text design and placement similarly mirrored that of the 1963 LP sleeve.[41][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.[48]

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 unreleasedGet Backfilm. 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"(aremixof 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.[49][50]

Final mi xing

[edit]
"Let It Be"
The Beatles' "Let It Be"fromLet It Be
Problems playing this file? Seemedia help.

"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.[51]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 theGet Backproject, 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.[52]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 thekeyfromDtoD♭), which had only been rehearsed at Twickenham and not professionally recorded on multi-track tape during the January 1969 sessions.[53]

ProducerPhil Spectorwas invited by Lennon and Harrison to take on the task of turning the Beatles' abandonedLet It Berecording sessions into a usable album.[54]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 forRolling 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."[55]

Lennon chose not to credit Johns for his contribution as a producer.[56]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'."[57]

Packaging

[edit]
The original box set packaging ofLet It Be.It contained a 160-page booklet with photos and quotes fromthe film.

In most countries except the United States,[44]theLet It BeLP was originally presented in a box with a full colour book. The book contained photos byEthan Russellfrom the January 1969 filming, dialogue from the film, with all expletives removed at EMI's insistence, and essays byRolling Stonewriters Jonathan Cott andDavid Dalton.[44][58]Despite the new album title, the book was still titledGet Back.[59]Its inclusion was another step in the Beatles' efforts to provide increasingly elaborate packaging for their records sinceSgt. Pepper's Lonely Hearts Club Band.[44]The book's lavishness increased production costs by 33 per cent, however,[60]driving the retail price higher than for any previous Beatles album.[61]

In the United States, theLet It Bealbum was issued in a gatefold cover and was initially distributed byUnited Artists Recordsinstead of their usualCapitol 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 byJohn Koshand includes individual photos of the four band members, again taken by Russell.[45]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 onAbbey Roadand other Beatles LPs, the cover does not include the band's name.[62]Written by Apple press officerDerek Taylor,[59]the LP's liner notes describedLet It Beas 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".[45]

Critical reception and legacy

[edit]
Retrospective professional ratings
Review scores
SourceRating
AllMusic[3]
The A.V. ClubB−[63]
Billboard[64]
Chicago Sun-Times[65]
Christgau's Record GuideA−[66]
The Daily Telegraph[1]
Encyclopedia of Popular Music[67]
Pitchfork9.1/10[68]
The Rolling Stone Album Guide[69]
Sputnikmusic4/5[70]

Let It Betopped 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 toBeatles Diaryauthor Keith Badman, "reviews [were] not good".[71]NMEcritic 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."[72]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".[73]Reviewing forRolling Stone,John Mendelsohnwas 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."[74]

John Gabree ofHigh Fidelitymagazine 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".[75]While questioning whether the Beatles' split would remain permanent,William MannofThe TimesdescribedLet It Beas "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."[76]In his review forThe Sunday Times,Derek Jewelldeemed 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."[76]

In a retrospective review,Richie UnterbergerofAllMusicdescribedLet It Beas 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 forThe Daily Telegraphin 2009,Neil McCormickdescribedLet It Beas 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 Bewas ranked number 86 inRolling Stone's list of the500 Greatest Albums of All Timein 2003,[77]number 392 in the 2012 version,[78]and number 342 in the 2020 edition.[79] It was voted number 890 in the third edition ofColin Larkin'sAll Time Top 1000 Albums(2000).[80]OnMetacritic,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".[81]

In 1971,Let It Bewon theGrammy Award for the Best Original Score Written for a Motion Picture or Television Special.[82]It was also one of the nominations for theGrammy Award for Best Contemporary Vocal Performance by a Duo, Group or Chorus.[83]Despite his objections to Spector's embellishments and the expensive packaging, including the "blatant hype" printed on the LP's back cover,[60]McCartney personally accepted the band's award.[84][nb 4]That same year, the Beatles won theAcademy Awardfor theBest Original Song Scorefor the songs in the film.[86]

In 1988, the Slovenian bandLaibachreleased amartial industrialversion of the album, also titledLet It Be.[87]Beatles authorKenneth Womackcomments on Laibach's notable exclusion of the title track and describes the album as "military style interpretations and choral pieces".[83]For the magazine's October 2010 issue,MojoreleasedLet It Be Revisited,[83]a CD containing interpretations of the songs by acts such asBeth Orton,Phosphorescent,Judy Collins,Wilko Johnson,the Besnard Lakes,John Grantandthe Jim Jones Revue.[88]

Reissues

[edit]

In 1976, the United Artists release of theLet It Bealbum went out of print in America until 1979, when United Artists Records was acquired by Capitol Records.Let It Bewas 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.[89]

Let It Be... Naked

[edit]
Main article:Let It Be... Naked

Paul McCartney, long unhappy with the original Phil Spector producedLet It BeLP, initiated a remix of the album, titledLet It Be... Nakedwhich 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.[90]

Deluxe editions

[edit]
Main article:Let It Be: Special Edition

In November 2021,The Beatles: Get Back,a new documentary directed byPeter Jacksonusing footage captured for theLet It Befilm, was released onDisney+as a three-partminiseries.[91]It was originally going to be theatrically released in 2020 to coincide with the 50th anniversary of theLet It Bealbum, but was delayed to November 2021 and moved to Disney+. A book also titledThe Beatles: Get Backwas released in October 2021, ahead of the documentary.[92]

Asuper deluxe versionof the album was released on 15 October 2021.

Track listing

[edit]

Original release

[edit]

All songs written byLennon–McCartney,except where noted. Lead vocals according toIan MacDonald.[93]

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

[edit]

According toMark Lewisohn:[94]

Personnel

[edit]

The Beatles

  • John Lennon– lead and backing vocals, rhythm guitar, lead guitar on "Get Back",lap steel guitaron "For You Blue", acoustic guitar on "Two of Us", "Across the Universe" and "Maggie Mae",six-string bass guitaron "Dig It" and "The Long and Winding Road", whistling on "Two of Us"
  • Paul McCartney– lead and backing vocals, bass guitar, acoustic guitar on "Two of Us" and "Maggie Mae", piano on "Dig It", "Across the Universe", "Let It Be", "The Long and Winding Road", and "For You Blue",Hammond organon "I Me Mine",electric pianoon "I Me Mine" and "Let It Be",maracason "Let It Be"
  • George Harrison– lead and rhythm guitars, acoustic guitar on "For You Blue" and "I Me Mine",tamburaon "Across the Universe", lead vocals on "I Me Mine" and "For You Blue", backing vocals
  • Ringo Starr– drums, percussion on "Across the Universe"

Additional musicians

  • Richard Anthony Hewson–stringandbrassarrangements on "I Me Mine" and "The Long and Winding Road"
  • John Barham–choralarrangements on "Across the Universe", "I Me Mine" and "The Long and Winding Road"
  • George Martin– Hammond organ on "Across the Universe",shakeron "Dig It", string and brass arrangements on "Let It Be", production
  • Linda McCartney– backing vocals on "Let It Be"
  • Billy Preston– electric piano on "Dig a Pony", "I've Got a Feeling", "One After 909", "The Long and Winding Road" and "Get Back", Hammond organ on "Dig It" and "Let It Be"
  • Brian Rogers – string and brass arrangements on "Across the Universe"

Production

Charts

[edit]

Certifications

[edit]
Certifications and sales forLet It Be
Region Certification Certified units/sales
Argentina (CAPIF)[138] 2× Platinum 120,000^
Australia (ARIA)[139] Platinum 70,000^
Canada (Music Canada)[140] 4× Platinum 400,000‡
Denmark (IFPI Danmark)[141] Platinum 20,000‡
France (SNEP)[142] Gold 100,000*
Italy (FIMI)[143]
sales since 2009 		Gold 25,000‡
New Zealand (RMNZ)[144]
Reissue 		2× Platinum 30,000^
United Kingdom (BPI)[145] Platinum 300,000‡
United States (RIAA)[146] 4× Platinum 4,000,000^

*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.[147]

See also

[edit]

Notes

[edit]
  1. ^The film audio tapes from 22 January capture Harrison and Lennon discussing theDaily Sketcharticle,[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 theGet Backalbum as "Apple Skyline", referring to Dylan's just-releasedNashville Skyline.[42]
  3. ^Although discarded forLet It Be,the two contrasting band photos were instead used for the covers of the Beatles' 1973 compilation albums1962–1966and1967–1970.[46][47]
  4. ^McCartney later said that when preparing theLet It Bealbum 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.[85]

References

[edit]
  1. ^abcMcCormick, Neil (8 September 2009)."The Beatles – Let It Be (8th May, 1970), review".The Daily Telegraph.Archivedfrom the original on 16 May 2017.Retrieved11 December2021.
  2. ^abKot, Greg(17 November 2003)."Let It Be, Paul".Chicago Tribune.Archivedfrom the original on 6 October 2019.Retrieved6 October2019.
  3. ^abcUnterberger, Richie."The BeatlesLet It Be".AllMusic.Archivedfrom the original on 27 October 2012.Retrieved24 September2014.
  4. ^Far Out Staff (8 May 2020)."Ranking the songs of The Beatles' final album 'Let It Be' on the 50th anniversary".Far Out Magazine.Archivedfrom the original on 29 September 2020.Retrieved3 October2020.Arguably one of the most controversial albums of all time...
  5. ^Lewisohn 2005,p. 162.
  6. ^Schaffner 1978,p. 113.
  7. ^Smith, Alan (28 September 1968). "George Is a Rocker Again! (Part 2)".NME.p. 3.
  8. ^Sulpy & Schweighardt 1999,p. 2.
  9. ^Miles 2001,p. 311.
  10. ^Miles 2001,p. 313.
  11. ^abcThe Beatles 2021,p. 29.
  12. ^abMiles 2001,p. 327.
  13. ^Sulpy & Schweighardt 1999,pp. 2, 5.
  14. ^abcIrvin, Jim (November 2003). "Get It Better: The Story ofLet It Be… Naked".Mojo.Available atRock's Backpages(subscription required).
  15. ^Doggett 2011,p. 56.
  16. ^Sulpy & Schweighardt 1999,p. 5.
  17. ^The Beatles: Get Back| Jackson| 2021| 00:10:40
  18. ^Brown, Peter and Steven Gaines, "The Love You Make: An Insider's Story of the Beatles".ISBN9781440674075.
  19. ^Doggett 2011,pp. 55–56.
  20. ^abO'Gorman 2003,p. 72.
  21. ^Miles 2001,p. 321.
  22. ^abcDoggett 2011,p. 59.
  23. ^MacDonald 2007,pp. 328–29.
  24. ^Doggett 2011,p. 57.
  25. ^abcO'Gorman 2003,p. 73.
  26. ^MacDonald 2007,p. 329.
  27. ^O'Gorman 2003,pp. 71–72.
  28. ^abMiles 2001,p. 328.
  29. ^Winn 2009,pp. 248–49.
  30. ^Sulpy & Schweighardt 1999,p. 169.
  31. ^abSulpy & Schweighardt 1999,p. 206.
  32. ^Winn 2009,p. 249.
  33. ^Doggett, Peter (2003). "Fight to the Finish".Mojo Special Limited Edition:1000 Days of Revolution (The Beatles' Final Years – 1 January 1968 to 27 September 1970).London: Emap. p. 138.
  34. ^Miles 2001,pp. 330, 331.
  35. ^abcMiles 2001,p. 331.
  36. ^abcThe Beatles 2021,p. 119.
  37. ^Winn 2009,pp. 237, 249.
  38. ^The Beatles 2021,pp. 119, 121.
  39. ^Sulpy & Schweighardt 1999,pp. 311, 313.
  40. ^Lewisohn 2005,p. 171.
  41. ^abLewisohn 2005,p. 176.
  42. ^Winn 2009,pp. 285–86.
  43. ^"Beatles – the Legendary 22-9-69 'Get Back' Radio Broadcast (Godfather Records GR 412) – Collectors Music Reviews".23 September 2009.
  44. ^abcdSpizer 2003,p. 162.
  45. ^abcWomack 2014,p. 543.
  46. ^Spizer 2003,pp. 162, 228.
  47. ^Lewisohn 2005,pp. 176–77.
  48. ^Schaffner 1978,p. 117.
  49. ^Lewisohn 2005,pp. 195, 196.
  50. ^Doggett 2011,p. 112.
  51. ^Sulpy & Schweighardt 1999,pp. 314, 315.
  52. ^Sulpy & Schweighardt 1999,pp. 315–16.
  53. ^MacDonald 2007,p. 277.
  54. ^Hamelman 2009,pp. 136–37.
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