Let It Be es el duodécimo y último álbum de estudio de labanda de rock inglesa The Beatles . Fue lanzado el 8 de mayo de 1970, casi un mes después de la ruptura del grupo , junto con la película del mismo nombre . Como la mayoría de los lanzamientos anteriores de la banda, el álbum encabezó las listas de éxitos en muchos países, incluidos los Estados Unidos y el Reino Unido. Sin embargo, la respuesta de la crítica fue generalmente desfavorable, y Let It Be llegó a ser considerado como uno de los álbumes de rock más controvertidos de la historia. [1] [2]
Deja que sea | ||||
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Álbum de estudio y álbum parcial en vivo de los Beatles | ||||
Liberado | 8 de mayo de 1970 | |||
Grabado | Febrero de 1968 (a través del universo), enero de 1969, enero y abril de 1970 | |||
Lugar de eventos | Azotea de Apple Corps , Londres | |||
Estudio | Apple , EMI y Twickenham Film Studios , Londres | |||
Género | Roca | |||
Largo | 35 : 10 | |||
Etiqueta | manzana | |||
Productor | Phil Spector | |||
la cronología de los Beatles | ||||
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La cronología de los Beatles en América del Norte | ||||
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Solteros de Let It Be | ||||
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Los ensayos comenzaron en Twickenham Film Studios en enero de 1969 como parte de un documental planeado que mostraba el regreso de los Beatles a las presentaciones en vivo. Paul McCartney concibió el proyecto como un intento de revitalizar a la banda volviendo a configuraciones de rock and roll más simples . [3] Los ensayos filmados estuvieron marcados por malos sentimientos, lo que provocó la salida temporal de George Harrison del grupo. Como condición para su regreso, los miembros se volvieron a reunir en su propio Apple Studio con el tecladista invitado Billy Preston . Luego, el proyecto produjo un solo concierto público que se realizó improvisado en la azotea del estudio el 30 de enero, del cual se extrajeron tres de las pistas del álbum.
En abril de 1969, los Beatles publicaron el sencillo " Get Back ", después del cual el ingeniero Glyn Johns propuso mezclas rechazadas del álbum, luego titulado Get Back , que fueron ampliamente pirateadas antes del lanzamiento. [3] A partir de entonces, el proyecto quedó en el limbo cuando pasaron a la grabación de Abbey Road , lanzada en septiembre. Para entonces, John Lennon había abandonado el grupo. En enero de 1970, los Beatles restantes terminaron el álbum con la finalización de " Let It Be " y " I Me Mine ". El primero fue publicado como single en marzo de 1970 y, como todas las grabaciones del álbum hasta este momento, fue producido por George Martin .
Get Back fue finalmente ensamblado bajo el título de Let It Be por el productor estadounidense Phil Spector a principios de 1970. Omitió " Don't Let Me Down " (la cara B del single "Get Back") y en su lugar incluyó un toma de " Across the Universe ". Spector también incluyó extractos de charlas de estudio y aplicó sobregrabaciones orquestales y de coro a cuatro pistas. Las adiciones ofendieron a McCartney, particularmente en el caso de " The Long and Winding Road ". En 2003, McCartney encabezó Let It Be ... Naked , una mezcla alternativa de Let It Be que elimina los adornos de Spector.
Fondo
Los Beatles completaron las sesiones de cinco meses para su álbum doble homónimo (también conocido como el "Álbum Blanco") a mediados de octubre de 1968. [4] Si bien las sesiones habían revelado profundas divisiones dentro del grupo por primera vez, lo que llevó a Ringo Starr renunció durante tres semanas, la banda disfrutó de la oportunidad de volver a involucrarse con la interpretación en conjunto, como una desviación de la experimentación psicodélica que había caracterizado sus grabaciones desde que la banda se retiró de las presentaciones en vivo en agosto de 1966. Antes del lanzamiento del White Album, John Lennon le dijo al periodista musical Jonathan Cott que los Beatles estaban "saliendo de nuestro caparazón ... como diciendo: ¿recuerdas cómo era tocar ?" [5] George Harrison dio la bienvenida al regreso a las raíces de la banda, diciendo que su objetivo era "ponerse tan funky como estábamos en The Cavern ". [6]
Concerned about the friction over the previous year, Paul McCartney was eager for the Beatles to perform live again.[7] With Lennon's agreement, he booked studio space at Twickenham Film Studios for all of January 1969, so that the band could be filmed rehearsing new songs for a live performance in a concert venue.[8] The timeline was dictated by Harrison being away in the United States until Christmas and Starr's commitment to begin filming his role in The Magic Christian in February.[9]
Grabación y producción
Twickenham and Apple sessions
The Twickenham rehearsals quickly disintegrated into what Apple Corps executive Peter Brown characterised as a "hostile lethargy".[10] Lennon and his partner Yoko Ono had descended into heroin addiction after their arrest on drugs charges in October and Ono's subsequent miscarriage.[11][12] Unable to supply his quota of new songs for the project, Lennon maintained an icy distance from his bandmates[13] and scorned McCartney's ideas.[12] By contrast, Harrison was inspired by his recent stay in the US; there, he enjoyed jamming with musicians in Los Angeles[14] and experienced a musical camaraderie and creative freedom with Bob Dylan and the Band in upstate New York that was lacking in the Beatles.[15][16] Harrison presented several new songs for consideration at Twickenham, some of which were dismissed by Lennon and McCartney.[13][16] McCartney's attempts to focus the band on their objective were construed as overly controlling,[17] particularly by Harrison.[13]
The atmosphere in the film studios, the early start each day, and the intrusive cameras and microphones of Michael Lindsay-Hogg's film crew combined to heighten the Beatles' discontent.[18] When the band rehearsed McCartney's "Two of Us" on 6 January, a terse 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.[19] Harrison was also angry with Lennon for telling a music journalist that the Beatles' Apple organisation was in financial ruin.[16] According to journalist Michael Housego's report in the Daily Sketch, Harrison and Lennon's exchange descended into violence with the pair allegedly throwing punches at each other.[20] Harrison denied this in a 16 January interview for the Daily Express, saying: "There was no punch-up. We just fell out."[21][nb 1] After lunch on 10 January, Harrison announced that he was leaving the band and told the others, "See you round the clubs."[9] Starr attributed Harrison's exit to McCartney "dominating" him.[19][24]
A week later the band agreed to Harrison's terms for returning to the group: they would abandon the plan to stage a public concert, and relocate from the cavernous soundstage at Twickenham to their Apple Studio, where they would record a new album.[9][25] Sessions commenced on 21 January at Apple Studio, in the basement of the Apple Corps building at 3 Savile Row, central London.[26] Multi-track recording began on that date[23] and ended on 31 January, along with filming.[27]
Get Back mixes
Days after the sessions at Apple had ended, Glyn Johns put together a rough mix acetate of several songs for the band to listen to. A tape copy of this acetate made its way to America, where it was played on radio stations in Buffalo and Boston over September 1969.
In early March, Lennon and McCartney called Johns to Abbey Road and offered him free rein to compile an album from the Get Back recordings.[28] Johns booked time at Olympic Studios between 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 the Let It Be album). It also included a jam called "Rocker", a brief rendition of the Drifters' "Save the Last Dance for Me", Lennon's "Don't Let Me Down" and a five-minute edit of "Dig It".[29][nb 2]
The cover of the proposed album featured a photograph of the Beatles by Angus McBean taken in the interior stairwell at EMI's Manchester Square headquarters.[31] The photo was intended as an update of the group's Please Please Me cover image from 1963 and was particularly favoured by Lennon. The text design and placement similarly mirrored that of the 1963 LP sleeve.[29][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.[34]
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 unreleased Get Back film. Between 15 December 1969 and 8 January 1970, new mixes were prepared. Glyn Johns' new mix omitted "Teddy Boy" as the song did not appear in the film. It added "Across the Universe" (a remix of 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. "I Me Mine" was newly recorded on 3 January 1970, as it appeared in the film and no multi-track recording had yet been made. The Beatles once again rejected the album.[35][36]
Final mixing
Several songs from the recording sessions have been released officially in versions different from those on the Let It Be album. "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.[37] Seven tracks were live performances, in accordance with the original album concept: "I've Got a Feeling", "One After 909" and "Dig a Pony" from the rooftop performance, and "Two of Us", "Dig It", "Get Back" and "Maggie Mae" from studio sessions. Contrary to the original concept, the album versions of "For You Blue", "I Me Mine", "Let It Be" and "The Long and Winding Road" feature editing, splicing and/or overdubs. "Don't Let Me Down" was not included on the album.[38] 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 the key from D to D♭), which had only been rehearsed at Twickenham and not professionally recorded on multi-track tape during the January 1969 sessions.[39]
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. McCartney unsuccessfully attempted to halt release of Spector's version or at least have it altered. Lennon defended Spector's work in his "Lennon Remembers" interview for Rolling Stone, saying, "he was given the shittiest load of badly recorded shit, with a lousy feeling toward it, ever. And he made something out of it. He did a great job."[40] In 2003, McCartney spearheaded Let It Be... Naked, an alternative mix of Let It Be that removes Spector's embellishments.
Lennon chose not to credit Johns for his contribution as a producer.[41] 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'."[42]
embalaje
In most countries except the United States,[31] the Let It Be LP was originally presented in a box with a full colour book. The book contained photos from the January 1969 filming, by Ethan Russell; dialogue from the film, with all expletives removed at EMI's insistence; and essays by Rolling Stone writers Jonathan Cott and David Dalton.[31][43] Despite the new album title, the book was still titled Get Back.[44] Its inclusion was another step in the Beatles' efforts to provide increasingly elaborate packaging for their records since Sgt. Pepper's Lonely Hearts Club Band.[31] The book's lavishness increased production costs by 33 per cent, however,[45] driving the retail price higher than for any previous Beatles album.[46]
The LP cover was designed by John Kosh and includes individual photos of the four band members, again taken by Russell. 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 on Abbey Road and other Beatles LPs, the cover does not include the band's name.[47]
Recepción crítica y legado
Review scores | |
---|---|
Source | Rating |
AllMusic | [1] |
The A.V. Club | B−[48] |
Billboard | [49] |
Chicago Sun-Times | [50] |
Christgau's Record Guide | A−[51] |
The Daily Telegraph | [52] |
Encyclopedia of Popular Music | [53] |
Pitchfork | 9.1/10[54] |
The Rolling Stone Album Guide | [55] |
Sputnikmusic | 4/5[56] |
Let It Be topped album charts in both America 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 to Beatles Diary author Keith Badman, "reviews [were] not good".[57] NME critic 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."[58] 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".[59] Reviewing for Rolling Stone, John Mendelsohn was 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."[60]
John Gabree of High Fidelity magazine 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".[61] While questioning whether the Beatles' split would remain permanent, William Mann of The Times described Let It Be as "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."[62] In his review for The Sunday Times, Derek Jewell deemed 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."[62]
In a retrospective review, Richie Unterberger of AllMusic described Let It Be as 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', with John and Paul harmonising together".[1] Let It Be was ranked number 86 in Rolling Stone's list of the 500 Greatest Albums of All Time in 2003[63] and number 392 in the 2012 version.[64] It was voted number 890 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000).[65]
In 1971, Let It Be won the Grammy Award for the Best Original Score Written for a Motion Picture or Television Special.[66] Despite his objections to Spector's embellishments and the expensive packaging, including the "blatant hype" printed on the LP's back cover,[45] McCartney personally accepted the band's award.[67] The Beatles also won the Academy Award for the Best Original Song Score for the songs in the film.[68] In 1988, the Slovenian band Laibach released a thrash metal version of the album, also titled Let It Be.[69]
Historial de versiones
In early 1976, when the Beatles' EMI contract expired, the group's subsequent pressings ceased sporting Apple labels, Capitol labels replacing them; Let It Be, however, went out of print in America for three years.[70]
Listado de pistas
Official release
All tracks are written by Lennon–McCartney, except where noted.
|
Unreleased Get Back versions
According to Mark Lewisohn:[71]
Get Back version one (May 1969) Side one
Side two
| Get Back version two (January 1970) Side one
Side two
|
Personal
The Beatles
- John Lennon – lead and backing vocals, rhythm guitar, lead guitar on "Get Back", lap steel guitar on "For You Blue", acoustic guitar on "Two of Us", "Across the Universe" and "Maggie Mae", six-string bass guitar on "Dig It", "Let It Be" 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 organ on "I Me Mine", electric piano on "I Me Mine" and "Let It Be", maracas on "Let It Be"
- George Harrison – lead and rhythm guitars, acoustic guitar on "For You Blue" and "I Me Mine", tambura on "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 – string and brass arrangements on "I Me Mine" and "The Long and Winding Road"
- John Barham – choral arrangements on "Across the Universe", "I Me Mine" and "The Long and Winding Road"
- George Martin – Hammond organ on "Across the Universe", shaker on "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
- Glyn Johns – audio engineering, mixing
- Alan Parsons – assistant engineer
- George Martin – producer, original mixing (uncredited)
- Phil Spector – credited as producer (final overdubs), final mixing
Gráficos
- Weekly charts
Chart (1970) | Position |
---|---|
Australian Kent Music Report Chart[72] | 1 |
Canadian RPM Albums Chart[73] | 1 |
Dutch Mega Albums Chart[74] | 1 |
Japanese Oricon LP Chart[75] | 2 |
Norwegian VG-lista Albums Chart[76] | 1 |
Swedish Albums Chart[77] | 2 |
UK Albums Chart[78] | 1 |
US Billboard Top LPs[79] | 1 |
West German Media Control Albums Chart[80] | 3 |
- Weekly charts (1987 reissue)
Chart (1987) | Position |
---|---|
Japanese Albums Chart[75] | 8 |
UK Albums Chart[78] | 50 |
- Weekly charts (2009 reissue)
Chart (2009) | Position |
---|---|
Austrian Albums Chart[81] | 52 |
Belgian Albums Chart (Flanders)[82] | 37 |
Belgian Albums Chart (Wallonia)[83] | 64 |
Danish Albums Chart[84] | 40 |
Finnish Albums Chart[85] | 34 |
Japanese Albums Chart[86] | 18 |
Mexican Albums Chart[87] | 30 |
Portuguese Albums Chart[88] | 11 |
Spanish Albums Chart[89] | 45 |
Swedish Albums Chart[90] | 24 |
Swiss Albums Chart[91] | 48 |
New Zealand Albums Chart[92] | 29 |
UK Albums Chart[93] | 49 |
Certifications
BPI certification awarded only for sales since 1994.[107] |
Notas
- ^ The film audio tapes from 22 January capture Harrison and Lennon discussing the Daily Sketch article,[22] which was titled "The End of a Beautiful Friendship?"[23] Lennon was offended by the idea that the Beatles would ever use violence against one another and is heard asking Denis O'Dell of Apple Films whether they can sue Housego for his false reporting.[22]
- ^ In an interview he gave to some American journalists in early May, Lennon described the Get Back album as "Apple Skyline", referring to Dylan's just-released Nashville Skyline.[30]
- ^ Although discarded for Let It Be, the two contrasting band photos were instead used for the covers of the Beatles' 1973 compilation albums 1962–1966 and 1967–1970.[32][33]
Referencias
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- ^ Far Out Staff (8 May 2020). "Ranking the songs of The Beatles' final album 'Let It Be' on the 50th anniversary". Far Out Magazine.
Arguably one of the most controversial albums of all time ...
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- ^ Lewisohn 2005, p. 162.
- ^ Schaffner 1978, p. 113.
- ^ Smith, Alan (28 September 1968). "George Is a Rocker Again! (Part 2)". NME. p. 3.
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- ^ a b O'Gorman 2003, p. 72.
- ^ a b c Doggett 2011, p. 59.
- ^ MacDonald 2007, pp. 328–29.
- ^ Doggett 2011, p. 57.
- ^ a b c O'Gorman 2003, p. 73.
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- ^ a b Miles 2001, p. 328.
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- ^ a b Sulpy & Schweighardt 1999, p. 206.
- ^ a b Winn 2009, p. 249.
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- ^ "ARIA Charts – Accreditations – 2009 Albums". Australian Recording Industry Association. Archived from the original on 28 July 2020. Retrieved 12 October 2012.
- ^ "Canadian album certifications – The Beatles – Let It Be". Music Canada. Retrieved 12 October 2012.
- ^ "Danish album certifications – The Beatles – Let It Be". IFPI Denmark. Retrieved 12 July 2020.
- ^ "French album certifications – The Beatles – Let It Be" (in French). InfoDisc. Retrieved 12 October 2012. Select THE BEATLES and click OK.
- ^ "Italian album certifications – The Beatles – Let It Be" (in Italian). Federazione Industria Musicale Italiana. Retrieved 31 August 2020. Select "2020" in the "Anno" drop-down menu. Select "Let It Be" in the "Filtra" field. Select "Album e Compilation" under "Sezione".
- ^ "New Zealand album certifications – The Beatles – Let It Be". Recorded Music NZ. Retrieved 14 April 2020.
- ^ "British album certifications – Beatles – Let It Be". British Phonographic Industry. Retrieved 3 January 2020.
- ^ "American album certifications – The Beatles – Let It Be". Recording Industry Association of America. Retrieved 12 October 2012. If necessary, click Advanced, then click Format, then select Album, then click SEARCH.
- ^ "Beatles albums finally go platinum". British Phonographic Industry. BBC News. 2 September 2013. Retrieved 4 September 2013.
Sources
- Doggett, Peter (2011). You Never Give Me Your Money: The Beatles After the Breakup. New York, NY: It Books. ISBN 978-0-06-177418-8.
- Ingham, Chris (2006). The Rough Guide to the Beatles. London: Rough Guides/Penguin. ISBN 978-1-84836-525-4.
- Lewisohn, Mark (2005) [1988]. The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962–1970. London: Bounty Books. ISBN 978-0-7537-2545-0.
- MacDonald, Ian (2007). Revolution in the Head. Chicago, IL: Chicago Review Press. ISBN 978-1-55652-733-3.
- Miles, Barry (2001). The Beatles Diary Volume 1: The Beatles Years. London: Omnibus Press. ISBN 0-7119-8308-9.
- O'Gorman, Martin (2003). "Film on Four". Mojo Special Limited Edition: 1000 Days of Revolution (The Beatles' Final Years – Jan 1, 1968 to Sept 27, 1970). London: Emap. pp. 68–75.
- Schaffner, Nicholas (1978). The Beatles Forever. New York, NY: McGraw-Hill. ISBN 0-07-055087-5.
- Spitz, Bob (2005). The Beatles. Back Bay Books.
- Spizer, Bruce (2003). The Beatles on Apple Records. New Orleans, LA: 498 Productions. ISBN 0-9662649-4-0.
- Sulpy, Doug; Schweighardt, Ray (1999). Get Back: The Unauthorized Chronicle of the Beatles' Let It Be Disaster. New York, NY: St. Martin's Griffin. ISBN 0-312-19981-3.
- Winn, John C. (2009). That Magic Feeling: The Beatles' Recorded Legacy, Volume Two, 1966–1970. New York, NY: Three Rivers Press. ISBN 978-0-307-45239-9.
- Woffinden, Bob (1981). The Beatles Apart. London: Proteus. ISBN 0-906071-89-5.
- Friedhelm Rathjen: Get Back. Die Beatles in Twickenham, 2.–14. Januar 1969. Südwesthörn: Edition ReJoyce 2018, ISBN 978-3-947261-08-6.
- Friedhelm Rathjen: Let It Be. Die Beatles im Apple-Studio, 21.–31. Januar 1969. Südwesthörn: Edition ReJoyce 2019, ISBN 978-3-947261-09-3.
enlaces externos
- Let It Be at Discogs (list of releases)
- Recording data and notes
- The Lost Beatle Tapes / The Making of Let It Be
- The British Beatles Fanclub