Let It Be

About

The dissolution of The Beatles was a famously unpleasant situation: By 1968, Lennon and McCartney were sometimes working simultaneously in separate studios; only about half of the White Album’s songs featured the full band. Conceived by McCartney as an effort to reclaim the band’s marital groove, <i>Let It Be</i> presented The Beatles not as an elaborate studio art project but as four guys making music together in a room. For as divisive as Phil Spector’s 11th-hour contributions were (George Martin joked that he should be given a credit for production, while Spector should get one for overproduction), they were also overstated: Only a handful of tracks here—most notably Lennon’s “Across the Universe” and McCartney’s “The Long and Winding Road”—were all that heavily orchestrated. While some were chopped up and reassembled to get a better shape, the rest of the album (“Get Back,” George Harrison’s breezy “For You Blue,” the surrealistic blues of Lennon’s “Dig a Pony,” recorded live on the rooftop of the band’s Apple Corps offices) hewed more or less to what McCartney had envisioned: The Beatles rediscovering the poise and spontaneity of a great live band. (“Let It Be” was a relatively big production even before Spector came on board.) Still, it’s a bittersweet, sometimes uncomfortable listen, and only further muddled by the eternal debate of whether or not it was actually the band’s last album, having been more or less finished before <i>Abbey Road</i> was started but not released until the band had broken up about a year later. (“And now we’d like to do ‘Hark, the Angels Come!’” Lennon squeaks in falsetto before “Let It Be”—a jab at what he felt was Paul’s sodden pseudo-religiosity.) Still, listen and you can still hear the heart, humor, and camaraderie that made them so unusual to begin with: McCartney’s “Two of U,” the throwback “One After 909,” the eternal “Get Back.” .

via Apple Music

The Clerk says

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