LET IT BE / THE ALBUM (Room 418)
LET IT BE / THE ALBUM (Room 418)
For the ‘Let It Be’ sessions The Beatles continued to work with George Martin but supplemented him with live engineer, Glyn Johns, in an attempt to get a new live feel to the album. When the four Beatles heard the results they weren’t happy and ultimately John had passed the tapes to Phil Spector. When the album was released in May 1970 the sleeve notes declared, “This is a new phase Beatles Album. Essential to the content of the film ‘Let It Be’, was that they performed live for many of the tracks.” A new phase album it was; it was their last. Live? Not really, Phil Spector added strings, choirs, overdubs and orchestras. George Martin and Paul, in particular, were horrified and believed that ‘The Long and Winding Road’ had been ruined. John Lennon’s ringing endorsement was limited to “When I heard it, I didn’t puke.” If this was to be their epitaph it wasn’t a fitting one, NME calling it “a cardboard tombstone”. Paul dominates the album in as much as there are four recognized classics on the album and three of them are his, ‘Get Back’, ‘Let It Be’ and ‘The Long And Winding Road’ with John contributing the beautiful ‘Across The Universe’. Elsewhere it sounds patchy and if John talked about the dream being over, then there is clear evidence on this album. It was released with an accompanying full color book and was packaged in a presentation box and like any new Beatles product it rocketed up the charts with record advance orders in the USA. Ultimately, it was decided to re-release the album in 2003, thirty four years after it was initially recorded, but this time, Spector’s lavish products was stripped down to bare and in it’s place was the live feel that they were striving for at the time. The album was released as ‘Let It Be, Naked’ and this time the sleeve notes do resonate, “a new phase Beatle album” as it was meant to be. It certainly seemed to prove Paul’s point for once and for all, that Phil Spector had ruined what was a good project and album over 30 years previously.
Artwork painted and owned by ©SHANNON
LET IT BE / THE ALBUM (Room 418)
For the ‘Let It Be’ sessions The Beatles continued to work with George Martin but supplemented him with live engineer, Glyn Johns, in an attempt to get a new live feel to the album. When the four Beatles heard the results they weren’t happy and ultimately John had passed the tapes to Phil Spector. When the album was released in May 1970 the sleeve notes declared, “This is a new phase Beatles Album. Essential to the content of the film ‘Let It Be’, was that they performed live for many of the tracks.” A new phase album it was; it was their last. Live? Not really, Phil Spector added strings, choirs, overdubs and orchestras. George Martin and Paul, in particular, were horrified and believed that ‘The Long and Winding Road’ had been ruined. John Lennon’s ringing endorsement was limited to “When I heard it, I didn’t puke.” If this was to be their epitaph it wasn’t a fitting one, NME calling it “a cardboard tombstone”. Paul dominates the album in as much as there are four recognized classics on the album and three of them are his, ‘Get Back’, ‘Let It Be’ and ‘The Long And Winding Road’ with John contributing the beautiful ‘Across The Universe’. Elsewhere it sounds patchy and if John talked about the dream being over, then there is clear evidence on this album. It was released with an accompanying full color book and was packaged in a presentation box and like any new Beatles product it rocketed up the charts with record advance orders in the USA. Ultimately, it was decided to re-release the album in 2003, thirty four years after it was initially recorded, but this time, Spector’s lavish products was stripped down to bare and in it’s place was the live feel that they were striving for at the time. The album was released as ‘Let It Be, Naked’ and this time the sleeve notes do resonate, “a new phase Beatle album” as it was meant to be. It certainly seemed to prove Paul’s point for once and for all, that Phil Spector had ruined what was a good project and album over 30 years previously.
Artwork painted and owned by ©SHANNON
LET IT BE / THE ALBUM (Room 418)
For the ‘Let It Be’ sessions The Beatles continued to work with George Martin but supplemented him with live engineer, Glyn Johns, in an attempt to get a new live feel to the album. When the four Beatles heard the results they weren’t happy and ultimately John had passed the tapes to Phil Spector. When the album was released in May 1970 the sleeve notes declared, “This is a new phase Beatles Album. Essential to the content of the film ‘Let It Be’, was that they performed live for many of the tracks.” A new phase album it was; it was their last. Live? Not really, Phil Spector added strings, choirs, overdubs and orchestras. George Martin and Paul, in particular, were horrified and believed that ‘The Long and Winding Road’ had been ruined. John Lennon’s ringing endorsement was limited to “When I heard it, I didn’t puke.” If this was to be their epitaph it wasn’t a fitting one, NME calling it “a cardboard tombstone”. Paul dominates the album in as much as there are four recognized classics on the album and three of them are his, ‘Get Back’, ‘Let It Be’ and ‘The Long And Winding Road’ with John contributing the beautiful ‘Across The Universe’. Elsewhere it sounds patchy and if John talked about the dream being over, then there is clear evidence on this album. It was released with an accompanying full color book and was packaged in a presentation box and like any new Beatles product it rocketed up the charts with record advance orders in the USA. Ultimately, it was decided to re-release the album in 2003, thirty four years after it was initially recorded, but this time, Spector’s lavish products was stripped down to bare and in it’s place was the live feel that they were striving for at the time. The album was released as ‘Let It Be, Naked’ and this time the sleeve notes do resonate, “a new phase Beatle album” as it was meant to be. It certainly seemed to prove Paul’s point for once and for all, that Phil Spector had ruined what was a good project and album over 30 years previously.
Artwork painted and owned by ©SHANNON