All good things come to an end. And The Beatles, as the best thing that ever happened to music in the 20th century couldn't be an exception. On may 8th, 1970, exactly two years before the author of these pages was born, Let It Be, the last album ever recorded as such by the four Beatles was issued. By that time, the group didn't exist as such, and only the delay in assembling an LP from what had been the Get Back sessions took the story of The Beatles into the next decade. Let It Be was recorded during 1969, under the Get Back concept. What the fab four tried to do was to regain their live feeling, the one that had been captured in their first LP Please Please Me recorded in only 11 hours. Apparently this had been John's idea, but it was Paul who suggested a film showing The Beatles at the recording studio. However both the film and the sessions became a historic document in which generations to come will be able to presence how the group was falling apart in those days. The Beatles began recording Let It Be at Twickenham film studios (where both A Hard Day's Night and Help! had been filmed) to allow the rehearsals to be filmed for a TV film. Allen Klein, the group's new manager (brought in by George, John and Ringo against Paul's will) later realized that the film should be released as a big screen film accompanied by the album. The truth is that recording conditions in Twickenham were poor and inadequate, and only rehearsals were performed. For 3 weeks, The Beatles waited and hoped the new Apple studios at 3 Saville Row were finished. However, the work done there by Alexis Mardas (Magic Alex) was far from convincing and recording equipment had to be borrowed from EMI. Musically, the recordings soon became a nightmare. The personal relationships of the members of the group were poor and playing songs together got quite complicated. On top of that, The Beatles hadn't seriously played live since 1965 and they no longer had the freshness of early days. Billy Preston was called in for two reasons. A fifth player on the keyboard was needed to complete the group if all songs were to be played live and with no overdubs. Also, an outsider would probably calm some of the arguments between some of The Beatles. And so, Billy Preston became in the Get Back single the first outside musician to be credited in a Beatles single. George Martin started producing the Get Back recordings. However, soon the atmosphere became also unbreathable for him. As he decided he had had enough, with little or no room at all for his work, Glynn Jones, the recording engineer was left in charge of the project. Jones collected twice a bunch of songs that were to be the "Get Back" album, and both times The Beatles and Allen Klein rejected the mixes. The truth is that those of us that have listened to those mixes agree that although historically more valuable than the final LP, commercially they both would have been a flop. Allen Klein and John Lennon brought in Phil Spector, considered by many the world's best producer (I prefer ol' George Martin by far) to make something out of the Get Back tapes, and what he made out of them is what you have at home under the name of Let It Be. The work of Phil Spector has been praised and depicted. He has been called a genius and a butcher. While John said his work was great, Paul will never forget him for what he did to The long and Winding Road. But, let's get to the facts so each one of you can judge by yourself. The tapes taken by Spector to make an LP were simply NOT up to a Beatles standard. It is true that some of the songs are overproduced by his famous "wall of sound" however, many others were saved from mediocrity by his work. Probably, the worst sin ever committed by Spector was not to check with Paul on all of his songs. His best virtue was to deliver an album that was not ranked separately, but among all the other Beatles jewels. Personally, I think Spector did no great thing with Let it Be. Anthology 3 and the film show us that all songs that were originally great, remained as such. John was quite thankful with the job done with Across the Universe. The truth is that with the exception of the excessive production on The Long and Winding Road (to which even in later versions Paul and George Martin added synthesizer strings and choirs in "Give My Regards to Broad Street", certainly much subtler than Spector had done) Spector did a fairly decent job with the tapes and presented an LP good enough to be sold under the name of The Beatles. The film, the second half of the project, has remained a secret for many young fans. I recently had the unique chance of seeing it in wide screen, twice, and can say that you shouldn't miss the chance of doing so if it ever comes across. Let It Be was shortly released in video (even Laser Disc) but soon retired from the market. For a decade, fans have been buying bootleg tapes to watch this incredible film. If you were planning to do this, I would recommend you to wait. It seems that Let It Be will be released before the end of the year, and although these kind of rumour should always be taken with precaution, all logic leads to a Christmas release of the tape. The truth is that the film, although sad by moments (specially an argument between George and Paul over a riff, that later was followed by George leaving the recordings for 3 days) holds at some songs all The Beatles magic. Once John sung "Beneath this mask I'm wearing a frown". Well, in Let It Be one tends to think that all Beatles behind their frown are wearing still a deep feeling for the other 3. Maybe life, success and music took them apart, but believe me, the Let It Be performance couldn't be done without some special feelings. The rooftop concert, that ends the film and the album, is a living proof that The Beatles could still do it live. Although some authors insist in putting down all live performances in the Get Back tapes, I disagree tremendously, specially on Get Back. The released version was played live on a windy rooftop in a grey day at lunchtime. Maybe the time of the day, like in the Cavern in the old days, put together these four lads (and an impressive Billy Preston) to perform one of their best rock numbers. Watching the performance on the top of the Saville Row building is an incredible experience no fan should miss. Let It Be was for the world the last album of the best group. Later, compilations, unreleased songs, Anthologies and even Free as a Bird and Real Love came. They even recorded Abbey Road after Let It Be. But the truth is that the four separate pictures on the cover made it clear enough for all, that from that moment on we should treasure what they had done, for nothing better would ever come again. Let It Be Recording Dates: 22 January 1969 - 1 April 1970 Release Date: 8 May 1970 Two Of Us McCartney John: Acoustic Guitar and Lead Vocal Paul: Acoustic Guitar and Lead Vocal George:Lead Guitar Ringo:Drums Two of Us is a nice song by Paul written for Linda. Although it certainly gives the impression of being written about Paul and John and their early Liverpool years, specially after seeing how close it is sung by both in the film, the truth is that Paul wrote it during one of his escapes with Linda to the countryside. Linda had always liked getting away from the world and getting lost, and she led Paul into appreciating that. It was the two of them going nowhere (at least they didn't know where they were going before they arrived), and writing postcards (which it seems they did a lot). The song starts with John saying "I dig a pigmy by Charles Hawtrey and the Deaf Aids. Phase one in which Doris gets her oats". The rehearsal version in the film is quite up-tempoed and it's a must for every fan (magnificent) Dig A Pony Lennon Working Title: All I Want Is You John: Lead Guitar and Lead Vocal Paul: Bass Guitar and Vocals George: Rythm Guitar Ringo: Drums Billy Preston: Organ One of the four tracks recorded live at the rooftop performance. Originally, Dig a Pony was to be called "Con a Lowry" referring to one of the brands of organs used at the studio. Mixture of two songs (All I Want is You and Dig a Pony), Lennon changed the lyrics to get the right sound and musicality. The song was originally called All I Want Is You in the announced track listing for the Get Back album. In the US edition, the song was titled "I Dig A Pony" Across The Universe Lennon John: Acoustic Guitar, Lead Guitar and Lead Vocal Paul: Piano George: Tamboura and Maracas Ringo:Drums and Tomtoms Session Musicians: 35 piece orchestra, 14 piece choir Across The Universe is a curious example of how can a song be manipulated at the production stage, with the artist not having anything to do with the final result. The song was recorded as early as february 1968, but for several reasons (specially John not being fully satisfied with the result) it remained unissued until 1969. Yes, 1969, since the World Wildlife Fund album "No One is Gonna Change Our World" was issued then. Wildlife sounds were added to the song for that release (not intended by the Beatles) and was speeded up. Although The Beatles can be seen in Let It Be rehearsing Across The Universe, the song was not re-recorded, and Spector used the original 1968 tape to overdub orchestral and choir arrangements. The song was slowed down beyond the original speed. So none of the two versions is reproduced at the original recording speed. And hence, if now one takes the "Past Masters II" CD, and hears version one there, and then plays the one on Let It Be, it inmediately feels Spector's version is way too slow. The same operation performed the othger way around, presents John Lennon as if he had breathed a baloon of helium. The song was written by John at Kenwood after an argument with Cynthia. Laying on the bed, the line "pools of sorrow waves of joy" came to his head, and there it stayed until he got up and wrote it down. I Me Mine Harrison Paul: Bass Guitar, Electric Piano and Vocals George:Acoustic Guitar, Lead Guitar, Organ and Lead Vocal Ringo: Drums Session Musicians: 35 piece orchestra Inspired by an Austrian marching band playing a waltz, George wrote this incredible song with poweful guitars and a great vocal. The song was recorded by George, Paul and Ringo on 3 January 1970, and on the Anthology 3 version George can be heard making a reference to John (Dave Dee) not being with them. Yet another great track from George. Dig It Lennon-McCartney-Starkey-Harrison Lennon: Bass Guitar and Lead Vocal Paul: Piano George: Lead Guitar Ringo Starr: Drums Billy Preston: Organ Out of one of those long Beatles jams, Dig It is just 51 seconds out of more than 12 minutes of music by the fabs. The song is hence credited to all of them (curiously not to Preston, also present with his organ). The song fades in and John starts improvising mentioning BB King, Doris Day and Matt Busby, a player for the Machester United football team. The song finishes with John saying "That was can you dig it by Georgie Wood. And now we'd like to do Ark the Angels Come", leading straight into Let It Be McCartney John: Bass Guitar Paul: Piano, Maracas and Lead Vocal George: Lead Guitar and Vocals Ringo:Drums Billy Preston: Organ Session Musicians: Brass and Cellos Let it Be is one of those songs that by one mean or another achieves to stay in one's heart forever. Personally, Let It Be is the first song I remember singing as a 3 year old with my uncle on guitar. But putting feelings aside, there's hardly a finer song in the Beatles career (many though come equal to this one). It is not only magnificent musically, but it also served as a perfect last song for the Beatles, who still almost 30 years later tell us to let it be the way they decided it to be. The song was recorded for the Get Back sessions, and can be seen in Let It Be live showing that it was excellent from the start. At that pont it was John and George doing the backing vocals in the chorus (are we suposed to giggle in the solo? said John -see Anthology 3) However and as satisfactory as that version proves to be, the song wasn't complete. George Harrison recorded another guitar solo, much improved by the way. The original solo can be heard in the single version (Past Masters II) while the improved solo appeared in the LP. Also, George Martin scored a delightful brass and chelo orchestration, that far from dull give the song a great strength and push. Finally, Paul and George re-recorded the backing vocals (and WHAT vocals!!!). I strongly disagree with many authors on Spector's mix ruining the original. I don't really know what the result could have been in the hands of George Martin, but the song as it stands now is magnificent. The mix Glyn Jones did for the single does indeed remain more faithfull to the Get Back sessions spirit, with no overdubs. However, Spector deals with Martin's arragement masterfully making it notorious where needed. The power of the LP release with the orchestral overdubs and George's overdriven guitar is far supersior, and also the treatment of Ringo's drumming more balanced in the overall recording than in the single. As mentioned before, Spector may have ruined a couple of songs, but not the whole LP. Paul wrote Let It Be, in a time of distress, when he was looking for answers and he needed a light in the dark. He dreamt one night of his mother, Mary, who came to him in times of trouble. Although the song did put a great end to the Beatles career as a single and LP, it was written back in January 1969. A Beatles masterpiece. Maggie Mae Traditional John: Acoustic Guitar and Lead Vocal Paul: Acoustic Guitar and Vocals George: Bass Guitar and Vocals Ringo: Drums A short rendition of a traditional Liverpool song. Scarcely 40 seconds long, this is one of example of the short versions The Beatles used to do around the studio while recording. I've Got a Feeling Lennon - McCartney John: Lead Guitar and Vocals Paul: Bass Guitar and Vocals George: Rythm Guitar Ringo: Drums Billy Preston: Organ Once again the collaboration between the best songwriting team ever. And once more, the songs were two separate pieces before they were glued together by John and Paul. Paul had his song, I've Got a Feeling, and John had his, Everybody Had a Hard Year. Paul starts singing his song, John follows him and almost miraculously, both song fit together mixing together in a brilliant, final build up. The song was also recorded in the rooftop performance, and hence is a genuine live track. One After 909 Lennon John: Lead Guitar and Lead Vocal Paul: Bass Guitar and Lead Vocal George: Rythm Guitar Ringo: Drums Billy Preston: Organ Another song from the live performance at 3 Saville Rd, and this one a classic. For those of you bootleggers, it will come to no surprise that The One After 909 is a song as old as The Beatles themselves. Written as early as 1957 by John, the fabs tried to record the song at EMI in their beginnings, but George Martin didn't think much of it. It finally resurfaced in the Get Back sessions and so it can be heard in the Let It Be album. The Long And Winding Road McCartney John: Bass Guitar Paul: Piano and Lead Vocal George: Lead Guitar Ringo: Drums Session Musicians: 35 piece orchestra, 14 piece choir The most controversial song in Let It Be is by far this Long and Winding Road. And its story has been since long and also winding. In the film and the Anthology 3 the original McCartney always desired to preserve can be heard. In the LP, the version with the orchestra and choir orchestated by Richard Hewson and sized by Phil Spector (50 musicians!!, the famous wall of sound). The truth is that with the historic perspective, Spector job does little to improve the song, making it more mellow and much in the line of the 50's ballads, with great orchestras accompanying. However, in my humble opinion, Paul's song doesn't change THAT much. In fact, you only have to listen the version he and George Martin recorded for Give My Regards To Broad Street and althogh it doesn't have the massive backing featured in the Let It Be version, the arrangements follow quite the same structure. Supposedly, the long and winding road is the B842 which leads to Paul's farm in Kintyre, Scotland after 16 miles of closed curves and turns (Turner, A Hard Day's Write). For You Blue Harrison Working Titles: George's Blues, For You Blues' John: Steel Guitar Paul: Bass Guitar and Piano George: Acoustic Guitar and Lead Vocal Ringo: Drums George experimented with his songwriting in For You Blue, just intending to write an standard blues. He said "It's a simple 12 bar song following all the 12 bar song principles, except that it's happy-go-lucky!" The song features Lennon surprisingly on steel guitar, showing some skills... Not much to account for, as although the song is correct, it's far from outstanding. Get Back McCartney John: Lead Guitar and Vocals Paul: Bass Guitar and Lead Vocal George: Rythm Guitar Ringo: Drums Billy Preston: Organ -"Rosetta, oh Rosetta" -"Sweet Rosetta Fart, she thought she was a cleaner, but she was a frying pan" Paul and John start in this way Get Back during the rooftop concert. However, the song found in the LP was recorded in the studio and then the sound bits from the concert were added. The versions in the single and in the LP both come from the same master, although the production job is different (in fact too much reverb on Paul's voice may make more desirable the LP version). In the beginning of the song, Paul was writing about politics, and in some of the bootlegs of the song some misinterpretable lines about pakistani immigrants can be heard. Paul was precisely trying to do a satire of those who felt that immigrants should be repatriated. Finally the song remained just a jolly rock number about Jojo, a man who left his home in Tucson, Arizona. At the end of the concert on the rooftop, as well as at the end of their last LP, John Lennon can be heard saying: "I like to say thank you on behalf of the group and ourselves. I hope we passed the audition". As if a 13 years audition it had been (from 1957 to 1970), the answer Mr. Lennon is yes, you have. You can play in our hearts forever.