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“What I like to do when we put these things together,” Martin says, “is you want to put things on that people would listen to more than once. They all invite the listener to be a fly-on-the-wall as the band developed and talked about the material. In addition to the new stereo mix of the original album, the goldmine for fans on particularly the six-disc Super Deluxe version consists of 27 unreleased tracks, including jams and rehearsals, from the Get Back sessions: among them alternate takes of “Let It Be,” “The Long and Winding Road,” “Get Back,” “For You Blue,” Dig a Pony” and “I've Got a Feeling”-as well as frameworks of songs (”She Came in Through the Bathroom Window,” “Oh! Darling” that would later appear on Abbey Road. So with Phil Spector's stuff, we kind of made it sound more Abbey Road than it was before, if that makes sense.” “With Let It Be, the job was to try and celebrate the record-and it's actually a really good album-but also to try and create some unity on the record. “Every album is different,” he explains of the approach on the new mix for Let It Be. Martin had previously worked on the special editions of the Beatles' Sgt Pepper's Lonely Hearts Club Band, The Beatles (a.k.a. And what I was trying to do was to try and make it more unified in a way.” It's kind of a hodgepodge of stuff in a way. “I Me Mine” was the last thing the Beatles recorded after Abbey Road. It's made up of “Across the Universe,” which was recorded way before. The album is also made up of the rooftop stuff. They weren’t even sure if they were rehearsing or recording. “It's not even an album in a way by the time they finished it. I learned mainly that it kind of wasn't a breakup album. But there are also happy moments in evidence as the group return to their roots - playing not only rock ‘n’ roll favourites but also unreleased early Lennon-McCartney compositions such as “Because I Know You Love Me So.“In its essence, Let It Be was the Beatles trying to get back to their youth,” said Martin, the son of the late and legendary Beatles producer George Martin, “trying to get back to the days of them playing the Cavern Club, being a rock and roll band, and getting away from being a studio band. The other Beatles’ enthusiasm for the planned concert ebbs and flows.
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He is also determined that they should break away from their insular recording career and appear before the public again. Throughout the tapes Paul doggedly insists that only by working hard together can the group survive. Original film sound rolls now provide an invaluable historical record of these days in the life of The Beatles and they do contain some candid discussions about the future of the group. ‘Yeah, it’s great, isn’t it?’ George responds. ‘I’m just so high when I get in at night’ John tells the others. Munching toast together, all four chat enthusiastically about playing live in the studio. The film sound rolls recorded at Apple (after their decision to move back to their studio there) disclose how much the atmosphere of the sessions had improved. It is the Twickenham Film Studios sessions that have characterised the whole Let It Be project as an unhappy one both in the minds of The Beatles themselves and anyone who saw the documentary footage in the movie. However, amidst the turmoil of the band’s breakup, the album was re-produced by Phil Spector before its 1970 release and it did not represent the raw and unadorned set The Beatles had in mind. Thirdly, as the climax of the project was a return to live performance, no studio effects or overdubbing of voices and instruments would be allowed at any time.Īs usual, George Martin would be the supervising producer but - as he recalls - he had been instructed by John that ‘none of your production rubbish!' was needed. A second innovative approach was added when it was decided to film the rehearsals allowing viewers to trace the development of each song from its first rough run through to the final polished version. First, abandoning the easier path, they opted to learn a completely new batch of songs for the televised concert. Let It Be evolved from an original plan to make a television show featuring the group playing tracks from the recent ‘White Album.’ That idea changed in three ways.
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Let It Be… Naked is the stripped-down, return-to-live-takes album that The Beatles originally aimed to create, free of vocal and instrumental overdubs or added effects. No studio effects or overdubbing of voices or instruments would be allowed - just the bare necessities of the band. When The Beatles first set out to make Let It Be in 1969, they intended to record an album that would be a return to live performance.