{"id":48695,"date":"2020-12-14T12:23:44","date_gmt":"2020-12-14T17:23:44","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=48695"},"modified":"2020-12-15T09:53:41","modified_gmt":"2020-12-15T14:53:41","slug":"the-beatles-let-it-be-album-breakdown-with-jerry-hammack","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/the-beatles-let-it-be-album-breakdown-with-jerry-hammack\/","title":{"rendered":"The Beatles &#8211; Let It Be: Album Breakdown with Jerry Hammack"},"content":{"rendered":"<div class=\"produ-leaderboard-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\" id=\"produ-1116072830\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-9200638511161-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-9200638511161-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-9200638511161-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-9200638511161-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-9200638511161-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div>[vc_row][vc_column][vc_column_text]Jerry Hammack has devoted 8 years of his life to research every tiny detail of the Beatles career and recoding process he could find. He wanted to \u2018<em>Write the book, that [he] didn\u2019t have<\/em>\u2018. Jerry has collected over 5700 Beatles recordings, from original mono Vinyl masters to outtakes and remixes. He\u2019s talked to engineers, producers and assistant engineers to find out exactly about their recording process, band chemistry and studio workflow.<\/p>\n<p>As the essence of his research, he\u2019s written a series of books covering the entire Beatles career, which <span class=\"s1\">reconstruct each song\u2019s creation as well as detailing the technical profile of each and every classic Beatles recording session from 1961 to 1970. <a href=\"https:\/\/amzn.to\/34duXJ4\">The final book in The Beatles Recording Reference Manuals is out now, click here to check it out!<\/a><\/span><\/p>\n<p>Today, Jerry Hammack is with us to give us a breakdown of The Beatles&#8217; album &#8220;Let It Be&#8221;. He will give us some of the background of how the album was recorded and what went into making it, as well as go through the album song by song and tell us some more about how each individual track was made.<\/p>\n<p>&#8220;Let It Be&#8221; was the twelfth and final studio album by The Beatles, and is one of my personal favorite albums of all time! The album actually celebrated the 50th anniversary of its release this year! This concept of this album began as an idea of getting back to basics. The Beatles wanted to create music that didn&#8217;t have any overdubs, and was based on live performances. They also decided to release a film showing the recording process and their return to live performance, to be released alongside the album.<\/p>\n<p>An interesting fact about this album is that it was actually recorded before &#8220;Abbey Road&#8221;, even though it was released after. This is because when it came time to edit all the documentary footage into a film, they had to much material that it took much longer than originally thought to put together the documentary. So, in order to still release an album, The Beatles set about recording &#8220;Abbey Road&#8221;. &#8220;Let It Be&#8221; was finally released in 1970, once the film was completed.<\/p>\n<p>It was so incredible to sit down the Jerry Hammack and learn all about this amazing album. He has so many more interesting facts and stories about each of these songs. Check out today&#8217;s video to learn how this amazing album was recorded!<\/p>\n<p><strong>Watch the video below to see our interview with Jerry Hammack!<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGSW91akdtUE91dWMlMjIlMjBmcmFtZWJvcmRlciUzRCUyMjAlMjIlMjBhbGxvdyUzRCUyMmFjY2VsZXJvbWV0ZXIlM0IlMjBhdXRvcGxheSUzQiUyMGNsaXBib2FyZC13cml0ZSUzQiUyMGVuY3J5cHRlZC1tZWRpYSUzQiUyMGd5cm9zY29wZSUzQiUyMHBpY3R1cmUtaW4tcGljdHVyZSUyMiUyMGFsbG93ZnVsbHNjcmVlbiUzRSUzQyUyRmlmcmFtZSUzRQ==[\/vc_raw_html][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]\n<p class=\"p1\"><span class=\"s1\"><b>Remembering the Back-to-Roots Hope of <i>Let It Be <\/i>and the <i>Get Back <\/i>sessions<\/b><\/span><\/p>\n<p><strong>Written by Caitlin Vaughn Carlos<\/strong><\/p>\n<p class=\"p3\"><span class=\"s1\"><i>\u201cSpring is here, and Leeds play Chelsea tomorrow, and Ringo and John and George and Paul are alive and well and full of hope. The world is still spinning and so are we and so are you. When the spinning stops \u2013 that\u2019ll be the time to worry. Not before.<\/i><\/span><\/p>\n<p class=\"p4\"><span class=\"s1\"><i>Until then, The Beatles are alive and well and the Beat goes on, the Beat goes on\u201d<\/i><\/span><\/p>\n<p class=\"p6\"><span class=\"s1\">The Beatle\u2019s final official press release on April 8, 1970 reminded fans the future was still bright for the Fab Four, even if the details of that future remained uncertain.<span class=\"Apple-converted-space\">\u00a0 <\/span>A month later, the band would release their final studio album <i>Let It Be, <\/i>on May 8, 1970, as the companion soundtrack to the 1969 documentary of the same name. The dissolution of the band\u2019s official partnership wouldn\u2019t occur for several months still, but in all practical ways, the band had stopped operating as the Beatles after <i>Abbey Road<\/i> (their last album recorded, even though it was their penultimate release). Producer George Martin later reflected on <i>Abbey Road<\/i> saying:<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">\u201cNobody knew for sure that it was going to be the last album \u2013 but everybody felt it was. The Beatles had gone through so much and for such a long time. They\u2019d been incarcerated with each other for nearly a decade, and I was surprised that they had lasted as long as they did. I wasn\u2019t at all surprised that they\u2019d split up because they all wanted to lead their own lives \u2013 and I did, too. It was a release for me as well.\u201d <\/span><\/p>\n<p class=\"p6\"><span class=\"s1\">But to the public <i>Abbey Road <\/i>was not the end \u2013 <i>Let it Be <\/i>(1970) holds that honor and in many ways has paid dearly for it.<span class=\"Apple-converted-space\">\u00a0 <\/span>The album held the #1 spot on the Billboard 200 for four weeks and, as a soundtrack, won both a Grammy and Academy Award for \u201cBest Original Score Written for a Motion Picture or Television Series\u201d, and \u201cBest Music, Original Song Score,\u201d respectively. But that didn\u2019t stop it from receiving critical and sometimes even scathing reviews by critics. Alan Smith wrote in <i>New Musical Express: \u201c<\/i>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.\u201d 50 years later, however, <i>Let It Be<\/i>\u2019s<i> <\/i>legacy has proven to be much better than Smith had predicted. Separated in distance from band\u2019s breakup and enjoying the warm glow of nostalgic remembrance, <i>Let It Be <\/i>lives on as time capsule of a band whose internal combustion represented both the hope and the disappointment of a generation dreaming of a better world. <\/span><\/p>\n<p class=\"p6\"><span class=\"s1\"><b>Four Boys from Liverpool<\/b><\/span><\/p>\n<p class=\"p6\"><span class=\"s1\"> Reflecting on the words of his final press release for the Beatles (see above), Apple record\u2019s press officer Derek Taylor reminisced on what friendship of these four boys from Liverpool had meant to him and many others: <\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">\u201cI absolutely did believe \u2013 as millions of others did \u2013 that the friendship The Beatles had for each other was a lifesaver for all of us. I believed that if these people were happy with each other and could get together and could be seen about the place, no matter what else was going on, life was worth living. But we expected too much of them.\u201d <\/span><\/p>\n<p class=\"p6\"><span class=\"s1\">The breakup of the Beatles was not a purely musical loss \u2013 in fact, there are many instances of individual members of the band playing on their former bandmate\u2019s non-Beatles releases, even immediately following the band\u2019s disbanding. Ringo Starr plays drums on John Lennon\u2019s <i>John Lennon\/Plastic Ono Band <\/i>release (1970) and Starr\u2019s 1973 album <i>Ringo <\/i>unites him with all three of his Beatles bandmates on individual tracks (although never all three together on the same track). Perhaps more keenly felt was the loss of hope that the band had symbolically represented.<span class=\"Apple-converted-space\">\u00a0 <\/span>The revelation of tension between this idealized group of friends in news reports and interviews surrounded the band\u2019s final release within a complex web of blame and disappointment. A public that had believed so much in the power of their friendship and love &#8211; who had placed their hope that the Beatle\u2019s could \u201cget back\u201d and find themselves as a unit again &#8211; heard the album through this lens. In April 1970, when Paul McCartney admitted (in the press release accompanying the premier his solo album) to a cessation in the band\u2019s work together (\u201ctemporary or permanent? I don\u2019t know\u201d), it triggered a media storm, including the <i>Daily<\/i> <i>Mirror\u2019s<\/i> famed headline \u201cPaul Quits the Beatles.\u201d One month before the release of <i>Let It Be, <\/i>this dramatic pronouncement of the internal struggles within the band certainly affected the album\u2019s reception. Hearing Lennon and McCartney singing in harmony with one another, while reminiscing on their history together in album\u2019s opening track, \u201cThe Two of Us,\u201d holds a different type of weight when you know it\u2019s the end.<span class=\"Apple-converted-space\">\u00a0 <\/span>The album feels like a gift \u2013 one last time to hear the fab four together &#8211; but also a loss. And it is a loss that comes with the knowledge that idealism that they represented would not be heard, from their lips again. <\/span><\/p>\n<p class=\"p4\"><span class=\"s1\">Fifty years later, we feel that loss even more keenly. Before the fateful night of December 8, 1980, when the world lost John Lennon, there was always the hope of a reunion (even in the April 1970 \u201cquitting the Beatles\u201d press release, McCartney had referred to the movement towards solo projects as a \u201cbreak\u201d from the Beatles, rather than an end).<span class=\"Apple-converted-space\">\u00a0 <\/span>But now, with both Lennon and George Harrison gone, we look back to <i>Let It Be <\/i>as the last time we would ever hear the Beatles perform something \u201cnew\u201d together. <\/span><\/p>\n<p class=\"p6\"><span class=\"s1\"><b>Getting\u2019 Back<\/b><\/span><\/p>\n<p class=\"p4\"><span class=\"s1\">While <i>Let It Be <\/i>was not fully finished until its release, most of the songs were recorded in early 1969, with some tracks going as far back as February 1968. In many ways, the recording sessions which resulted in the album\u2019s tracks were part of an attempt to keep the band together, and to reach back and find the roots that united them. The entire process would be filmed centering around the idea of the band returning to live performance once again. Paul McCartney explained years later:<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">\u201cWe started <i>Let It Be<\/i> in January 1969 at Twickenham Studios, under the working title <i>Get Back<\/i>. Michael Lindsay-Hogg was the director. The idea was that you\u2019d see The Beatles rehearsing, jamming, getting their act together and then finally performing somewhere in a big end-of-show concert. We would show how the whole process worked. I remember I had an idea for the final scene which would be a massive tracking shot, forever and ever, and then we\u2019d be in the concert.\u201d (<i>Anthology, <\/i>2000)<\/span><\/p>\n<p class=\"p6\"><span class=\"s1\">The centerpiece of a concert looks back to the band\u2019s early years spending long hours on tour and performing live, a practice which they had ended full stop after their August 1966 performance in San Francisco\u2019s Candlestick Park. After this concert, the band turned their attention solely on the recording studio, a shift which had resulted in the band\u2019s most complex technological and compositional album work, to both critical and popular acclaim. In many ways, it was also a welcome break after years of hard work on the road. However, three years later, the dynamics of the band had shifted yet again. The Beatles were now businessmen as owners of a record label (Apple); they had children and new spouses, and were active participants in the cultural revolution that was sweeping both the US and England at the end of the sixties.<span class=\"Apple-converted-space\">\u00a0 <\/span>In the midst of rapid change all around, the band spent almost a month working on the <i>Get Back <\/i>sessions, trying to find their way back into their groove as a performing unit. Richie Unterberger explains: <\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">\u201cVery broadly speaking, these sessions resulted from a notion the Beatles were now entertaining: a return to the live concert stage. The rough idea was to give just one show, or just a few, under circumstances in which the Beatles were most comfortable. The idea would be to arrange the event so the group would enjoy it as much as possible, and so that the music and performance could be truly heard and appreciated. This would have been a big step forward from the Beatlemania days, in which the group trotted maniacally all over the globe under tremendous pressure, unable to even hear themselves well, playing for audiences who couldn\u2019t (or didn\u2019t want to) hear the music well either.\u201d <\/span><\/p>\n<p class=\"p6\"><span class=\"s1\">Live music making was at the core of the Beatle\u2019s origin story.<span class=\"Apple-converted-space\">\u00a0 <\/span>Their friendship and career had been forged in the live heat of Hamburg and Liverpool\u2019s music scenes \u2013 through two busy years of traveling between and performing in both cities.<span class=\"Apple-converted-space\">\u00a0 <\/span>Barry Miles argues that it was \u201cthe 800 hours on stage in Hamburg that transformed them into a world class act.\u201d It was through these grueling, and yet exciting, years of live performance that they built their fans, began their relationship with manager Brian Epstein, traded their leather jackets for suits, found their iconic instrumentation (McCartney\u2019s H\u00f6fner violin bass and Harrison\u2019s Rickenbacker), and solidified their personnel. So when Unterberger highlights the attempt to find joy in their circumstances, to rekindle live performance in a way that would make playing together enjoyable again, we get to the heart of what makes the <i>Get Back<\/i> sessions and <i>Let It Be<\/i> so different from other multimedia projects of the era. For indeed, they were not the only musicians experimenting with notions of live concerts intertwining with television or film narratives at the close of the sixties. Tony Barrell notes that the live, rooftop concert portion of the <i>Get Back <\/i>sessions \u201cemerged from a period when musicians were finding new ways to engage with the media of film and television. Elvis Presley used the TV to stage a remarkable \u201clive\u201d comeback, while the Rolling Stones and Jefferson Airplane were toying with <i>cinema v\u00e9rit\u00e9<\/i> and collaborating with the radical<i> Nouvelle Vague <\/i>director Jean-Luc Godard.\u201d Likewise, The Who were attempting to realize Pete Townshend\u2019s ambitious <i>Lifehouse <\/i>project vision, which also hoped to intertwine live concert footage with a dramatic narrative and include new compositions. But for all the challenges these other musicians faced, the Beatles were also attempting to use these sessions to come together while falling apart. They were simultaneously trying to parse out their future by reconnecting with their past. The working title of these sessions is telling\u2026in the midst of new mediums and new ideas, John, Paul, Ringo and George were all trying to find a way to \u201cget back to where they once belonged.\u201d<\/span><\/p>\n<p class=\"p6\"><span class=\"s1\"><b>The Rooftop Concert<\/b> <\/span><\/p>\n<p class=\"p6\"><span class=\"s1\">In the epic tale of the Beatles\u2019 career and the mythology surrounding the band, the January 30, 1969 \u201crooftop concert\u201d holds a special place.<span class=\"Apple-converted-space\">\u00a0 <\/span>As part of the <i>Get<\/i> <i>Back <\/i>sessions, it was never a concert in the traditional sense.<span class=\"Apple-converted-space\">\u00a0 <\/span>The band played several takes of songs like \u201cGet Back,\u201d \u201cI\u2019ve Got a Feeling\u201d and \u201cDon\u2019t Let Me Down.\u201d This makes it more of a rehearsal, or even more so, a live recording session. In fact, Beatle\u2019s roadie Mal Evans described the event exactly as such in a diary-style entry on the event for the fan magazine <i>The Beatles Book Monthly: <\/i>\u201cOne particular day\u2019s work at the end of January caused quite a stir. To get something a bit different, an open-air sound, we shifted the session from the basement studio to the roof of 3 Savile Row!\u201d The live concert recording was done at lunchtime on the roof of their Apple headquarters in downtown London. According to <i>Let It Be <\/i>film director Michael Lindsay-Hogg, the event almost didn\u2019t even happen. \u201cWe planned to do it about 12:30 to get the lunchtime crowds. They didn\u2019t agree to do it as a group until about twenty to 1:00. Paul wanted to do it and George didn\u2019t. Ringo would go either way. Then John said, \u2018Oh [f\u2014k], let\u2019s do it,\u2019 and they went up and did it.\u201d And what they did was a 42-minute set that was cut short by the arrival of the London Metropolitan Police, who were responding to noise complaints from surrounding businesses.<span class=\"Apple-converted-space\">\u00a0 <\/span>The final song was yet another take of <i>\u201c<\/i>Get Back\u201d<i> <\/i>as the police informed Evans that they needed to stop the performance. Multiple sources indicated that the band members actually hoped they would get arrested. McCartney reminisced: \u201c\u2026it started to filter up from Mal that the police were complaining. We said, \u2018We\u2019re not stopping.\u2019 He said \u2018The police are going to arrest you.\u2019 \u2018Good end to the film. Let them do it. Great! That\u2019s an end: \u201cBeatles Busted on Rooftop Gig\u201d.\u2019\u201d Starr also expressed feeling a bit disappointed that the event didn\u2019t get that rebellious conclusion: <\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">\u201cI always feel let down about the police. Someone in the neighborhood called the police, and when they came up I was playing away and I thought, \u2018Oh great! I hope they drag me off.\u2019 I <i>wanted <\/i>the cops to drag me off \u2013 \u2018Get off those drums!\u2019 \u2013 because we were being filmed and it would and looked really great, kicking the cymbals and everything. Well they didn\u2019t, of course; they just came bumbling in: \u2018You\u2019ve got to turn that sound down.\u2019 It could have been fabulous.\u201d<\/span><\/p>\n<p class=\"p6\"><span class=\"s1\">Ultimately, the band was able to finish the take, after which Lennon concluded: \u201cI\u2019d like to say thank you on behalf of the group and ourselves, and I hope we\u2019ve passed the audition.\u201d<span class=\"Apple-converted-space\">\u00a0 <\/span>Immortalized in both the <i>Let It Be <\/i>album and film, the words capture another role of this event as part of the band\u2019s attempt to reconnect to their former collaborative dynamic. If the rooftop performance was simultaneously performance, rehearsal, and recording session, it was also an audition \u2013 a \u201cself-audition\u201d according to author Tony Barell who writes that the rooftop concert \u201c\u2026was the big test. In that respect, they showed enormous courage. If they\u2019d failed, they knew the media would have been circling like vultures dashing off nasty reviews and hatchet jobs with relish.\u201d Perhaps, more than a musical audition, however, it was an audition of the spirit. Could they truly find their way back to a functioning dynamic where they <i>enjoyed<\/i> playing music together \u2013 not just a working relationship, but the type of collaborative joy that had inspired others and had catapulted their career from the bars and clubs of Hamburg and Liverpool into the international spotlight. It seems telling that they chose to perform the song \u201cGet Back\u201d three times during this performance. While of course the song had already been deemed important as the working title of these sessions, in repeatedly performing the song on public display, they projected the band\u2019s back-to-roots intentions for the world to see.<br \/>\n<\/span><\/p>\n<p class=\"p6\"><span class=\"s1\"><b>Two of Us <\/b><\/span><\/p>\n<p class=\"p6\"><span class=\"s1\">The album\u2019s opening track looks to the type of friendship that fans had imagined and treasured in their idealism of the Beatle\u2019s internal dynamic. The song was written by Paul, in the context of his relationship to his new bride Linda. She described its origins in the peaceful rides the pair would take through the English countryside: \u201cWhen I moved to England to be with Paul, we would put Martha, Paul\u2019s sheepdog, in the back of the car and drive out of London. And as soon as we were on the open road, I\u2019d say, \u2018Let\u2019s get lost,\u2019 and we\u2019d keep driving without looking at any signs. Hence the line in the song, \u2018going nowhere.\u2019 Paul wrote that on one of those days out. It\u2019s about us. We just pulled off in a wood somewhere and parked the car. I went off walking while Paul stayed in the car and started writing.\u201d<span class=\"Apple-converted-space\">\u00a0 <\/span>It is, in many ways, a love song that celebrates the simplicity of being in love, akin to the charming innocence of his early songwriting with songs like \u201cI Want to Hold Your Hand.\u201d <\/span><\/p>\n<p class=\"p9\"><span class=\"s1\">In the context of the <i>Let It Be <\/i>album, the song takes on an additional layer of meaning for fans who would hear Lennon and McCartney singing in the Everly-Brothers-styled harmonies, as they had their youth, all the while full knowing that the band had broken up. The line \u201con our way back home\u201d <i>feels<\/i> like it should be celebrating the success of their back-to-roots efforts in the <i>Get Back <\/i>sessions, and yet the illusion had been shattered. 50 years later, we start off our encounters with <i>Let It Be <\/i>through sonic time travel \u2013 back to the innocence and idealism of young friendship. Time has faded the sting of the band\u2019s breakup, aided by their own individual reconciliations and fond remembering in decades of interviews since (tragically heighted after Lennon\u2019s death in 1980). We can view the song through the images of \u201cThe Two of Us\u201d in the <i>Let It Be <\/i>film, where we find the duo fooling around, breaking into Elvis impersonations, laughingm and enjoying each other\u2019s company. It is a quite powerful affect in our cultural memory for <i>Let It Be<\/i> that the album begins with a song that so perfectly bridges the band\u2019s stylistic history and captures the magic of their beloved friendship.<br \/>\n<\/span><span class=\"s2\"><br \/>\n<\/span><span class=\"s3\"><b>Dig A Pony<\/b><\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">Written by John Lennon, \u201cDig a Pony\u201d was the first song to be recorded during the <i>Get Back <\/i>sessions. He later called the song a \u201cpiece of garbage\u201d saying \u201cI was just having fun with words. It was literally a nonsense song. You just take words and you stick them together, and you see if they have any meaning. Some of them do, some of them don\u2019t.\u201d Musicologist Kenneth Womack reveals that the final song is actually derived from two separate songs that Lennon had written \u201cAll I Want Is You\u201d and \u201cDig a Pony.\u201d <\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">The version of \u201cDig a Pony\u201d on <i>Let It Be <\/i>comes from the rooftop performance, and includes a false start introduction \u2013 when Starr shouts out \u201chold on\u201d while trying to get rid of the cigarette he has in hand. The footage also captures Lennon reading the lyrics from a clipboard held by a production runner for the film kneeling in front of him.<\/span><\/p>\n<p class=\"p10\"><span class=\"s1\"><b>Across the Universe<\/b><\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">Another Lennon original, \u201cAcross the Universe\u201d finds its origins before the <i>Get Back <\/i><\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">session, during a February 1968 recording session at Abbey Road studios. In a <i>Rolling Stone <\/i>interview<i> <\/i>in 1970, Lennon described it as one of the greatest songs he had every written: \u201cIt\u2019s one of the best lyrics I\u2019ve written. In fact, it could be the best. It\u2019s good poetry, or whatever you call it, without chewin\u2019 it. See, the ones I like are the ones that stand as words, without melody. They don\u2019t have to have any melody, like a poem, you can read them.\u201d<\/span><\/p>\n<p class=\"p10\"><span class=\"s1\"><br \/>\nIt is also a great example of the influence of Indian music and culture on the Beatle\u2019s songwriting in the late sixties, with Harrison playing a tamboura alongside Lennon\u2019s meditative lyrics.<span class=\"Apple-converted-space\">\u00a0 <\/span>Lennon notably employs a Sanskrit phrase, \u2018Jai guru deva, om\u2019 which Womack translates as roughly: \u201cJai (\u2018live forever\u2019), guru (\u2018teacher\u2019) deva (\u2018heavenly one\u2019) omg (\u2018 the vibration of the universe\u2019). The phrase can also be rendered as \u2018victory to God divine\u2019 or. In the words of Maharishi Mahesh Yogi, \u2018All Glory to Guru Dev.\u2019\u201d<span class=\"Apple-converted-space\">\u00a0 <\/span>Maharishi Mahesh Yogi\u2019s work on transcendental meditation became a dominant influence in their music and thinking in the late sixties. When Lennon spoke about the origins of \u201cAcross the Universe,\u201d he connected it to a very transcendental, spiritual experience:<\/span><\/p>\n<p class=\"p12\"><span class=\"s1\">\u201cI\u2019d kept hearing these words over and over, flowing like an endless stream. I went downstairs and it turned into sort of a cosmic song rather \u2026But the words stand, luckily, by themselves. They were purely inspirational and were given to me as\u00a0<i>boom<\/i>! I don\u2019t own it, you know; it came through like that&#8230;.it wrote itself. It\u00a0<i>drove<\/i>\u00a0me out of bed. \u2026It\u2019s like being\u00a0<i>possessed<\/i>; like a\u00a0<i>psychic<\/i>\u00a0or a\u00a0<i>medium<\/i>. The thing\u00a0<i>has<\/i>\u00a0to go down. It won\u2019t let you sleep, so you have to get up,\u00a0<i>make<\/i>\u00a0it into something, and then you\u2019re allowed to sleep.\u201d <\/span><\/p>\n<p class=\"p6\"><span class=\"s1\"><b>I Me Mine<\/b><\/span><\/p>\n<p class=\"p6\"><span class=\"s1\">Written by George Harrison, \u201cI Me Mine\u201d developed out the ego-driven tensions of the <i>Get Back <\/i>sessions at Twickenham Studios. The association between the cheeky title stuck with Harrison, leading the songwriter to good-naturedly use it as the title of his 1980 memoir. It was written in the first two weeks of the <i>Get Back <\/i>sessions, and when the band saw that Lindsey-Hogg had included scenes with it in the film, they had to go back and re-record it, so that it could be included on the companion <i>Let It Be <\/i>album. However, when they went back to record the song for this purpose on January 3, 1970 at Abbey Road studios, Lennon had already departed from the band (although this was unknown to the public at the time). The final track that appears on the album comes from this session with only Starr, Harrison and McCartney. It is also during the session where Harrison jokingly acknowledged their fourth member\u2019s disappearance by referencing a popular British group of the time: \u201cYou all will have read that Dave Dee is no longer with us. But Mickey and Tich and I would just like to carry on the good work that\u2019s always gone down in [studio] number two.\u201d While the remark is cut from the original <i>Let It Be <\/i>release, it was included on the track that appears on <i>Anthology 3.<br \/>\n<\/i>According Harrison, \u201cI Me Mine\u201d was inspired musically by the incidental music for a BBC television program, <i>Europa: The Titled and the Untitled. <\/i>Lyrically, it was both a product of the tension within the band, as well as the spiritual self-examination that Harrison experienced through his meditative practices. <\/span><span class=\"s3\">In his memoir, he reflects:<\/span><\/p>\n<p class=\"p14\"><span class=\"s1\">\u201c \u2018I Me Mine is the ego problem. I looked around and everything I could see was relative to my ego. You know, like \u2018that\u2019s my piece of paper,\u2019 and \u2018that\u2019s my flannel,\u2019 or \u2018give it to me,\u2019 or \u2018I am.\u2019 It drove me crackers \u2013 I hated everything about my ego \u2013 it was a flash of everything false and impermanent which I disliked. But later I learned from it \u2013 to realize that there is somebody else in here apart from old blabbermouth. \u2018Who am I\u2019 became the order of the day. Anyway, that\u2019s what came of out it: \u2018I Me Mine\u2019 \u2013 it\u2019s about the ego, the eternal problem.\u201d<\/span><\/p>\n<p class=\"p10\"><span class=\"s1\"><b>Dig It<\/b><\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">Clocking in at only 50 seconds, \u201cDig It\u201d gives the appearance of an off-the-cuff jam session between the band before getting serious and moving into the album\u2019s title track, \u201cLet It Be.\u201d In many ways it was exactly that \u2013 a slice of a 12-minute improvisation between all four members of the Beatles, with Lennon ad-libbing nonsensical lyrics and even breaking into a duet with McCartney\u2019s six-year-old future step-daughter Heather Eastman (later McCartney).<span class=\"Apple-converted-space\">\u00a0 <\/span>While the 50 second glimpse into these improvisation sessions make it seem like a one time jam, the band actually recorded longer versions of the song four times, treating it like an evolving new composition. It is also one of very few songs to be credited to all four members of the band. <\/span><\/p>\n<p class=\"p10\"><span class=\"s1\"><b>Let It Be<\/b><\/span><\/p>\n<p class=\"p10\"><span class=\"s1\"> \u201cLet It Be\u201d is one of the most beloved songs in the Beatles oeuvre and certainly one of the most popular hits to come out of the <i>Let It Be <\/i>album. It was inspired by a dream in which McCartney\u2019s mother appeared to him, bringing him great comfort:<\/span><\/p>\n<p class=\"p12\"><span class=\"s1\">\u201cI had a lot of bad times in the \u201860s. We used to lie in bed and wonder what was going on and feel quite paranoid. Probably all the drugs. I had a dream one night about my mother. She died when I was fourteen so I hadn\u2019t really heard from her in quite a while, and it was very good. It gave me some strength.\u201d<\/span><\/p>\n<p class=\"p10\"><span class=\"s1\"> The song appeals to religious interpretations with its invocation of \u201cMother Mary\u201d and has had lasting appeal (<i>Rolling Stone <\/i>dubbed it #20 on their 2004 list of <i>The 500 Greatest Songs of All Time<\/i>).<span class=\"Apple-converted-space\">\u00a0 <\/span>It was not recorded until the final days of the <i>Get Back <\/i>sessions, first on January 25, 1969 and again on January 31. The latter recording is the one that was used on the album and for the single.<span class=\"Apple-converted-space\">\u00a0 <\/span><br \/>\nLike \u201cTwo of Us,\u201d McCartney\u2019s contribution with \u201cLet It Be\u201d offers a rare moment of respite in the midst of the tumultuous sessions that gave birth to the album named after it.<span class=\"Apple-converted-space\">\u00a0 <\/span>Upon the album\u2019s release, it was a song of comfort and peace to listeners amidst a period intense personal and social conflict, both within the dynamics of the band, as well as in the larger world at the close of the sixties.<span class=\"Apple-converted-space\">\u00a0 <\/span>It promises peace and resolution, if we can only \u201clet it be.\u201d Fifty years later, the world finds itself in another historic moment of social, cultural and political upheaval and the song maintains its relevance to contemporary audiences. <\/span><\/p>\n<p class=\"p10\"><span class=\"s1\"><b>Maggie Mae <\/b><\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">Almost a closing bookend to the prologue provided by \u201cDig It,\u201d \u201cMaggie Mae\u201d offers another 40 seconds of Beatle\u2019s improvisation from the <i>Get Back <\/i>sessions. One of the ways the band tried to rekindle their friendship and spirit was through light-hearted jams and warm-ups on songs from their teenage years, including old rock and roll, skiffle and popular songs (including \u201cShake, Rattle and Roll,\u201d \u201cAll Shook Up,\u201d and \u201cBesame Mucho\u201d). \u201cMaggie Mae\u201d looks back to the band\u2019s origins, as a traditional Liverpool folksong believed to date to the 19<\/span><span class=\"s4\"><sup>th<\/sup><\/span><span class=\"s1\"> century, and was a regular part of the Beatles\u2019 Liverpool days when they were still known as the Quarrymen. The short track ends the first side of the original album, a lighthearted conclusion after the hopeful solemnity of the title track.<br \/>\n<b><br \/>\n\u201cI\u2019ve Got a Feeling\u201d<\/b><\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">\u201cI\u2019ve Got a Feeling\u201d is the opening track of the second side of the <i>Let It Be <\/i>album and evolved out of two separate original songs: McCartney\u2019s \u201cI\u2019ve Got a Feeling\u201d and Lennon\u2019s \u201cEverybody Had a Hard Year.\u201d It was also influenced by an improvisation between the duo and Starr dubbed \u201cWatching Rainbows.\u201d<span class=\"Apple-converted-space\">\u00a0 <\/span>Although many of the Beatles\u2019 tracks were credited to both Lennon and McCartney, this was one of the few pieces, since 1967, that was written by the pair as a true collaboration.\u00a0<\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">Part of the song\u2019s interest is found in the juxtaposition of the two very different sentiments of the songs from which it was derived: McCartney\u2019s contribution was inspired by the new love of his future wife Linda Eastman, while Lennon\u2019s reflected upon the challenges of his separation from his first wife and son, as well as the struggles he and Yoko Ono had faced over the course of 1968 (miscarriage, arrest for possession of marijuana, and the former\u2019s addiction to heroine). <\/span><\/p>\n<p class=\"p10\"><span class=\"s1\"><b>One After 909 <\/b><\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">In the story of the Beatle\u2019s back-to-roots efforts in the creation of <i>Let It Be, <\/i>\u201cOne after 909\u201d is perhaps the clearest manifestation of that effort. Although it was a new release for fans in 1970, the song is actually one of the band\u2019s earliest original songs. It was first formally recorded in 1963, as the band was working on \u201cFrom Me To You,\u201d and several bootleg recordings exist from even earlier, in their Quarrymen days, with the earliest dating back to 1960.<span class=\"Apple-converted-space\">\u00a0 <\/span>Decades later, in an interview with Barry Miles, McCartney reflected upon its composition:<\/span><\/p>\n<p class=\"p12\"><span class=\"s1\">\u201cIt [\u201cOne After 909\u201d] has great memories for me of John and I trying to write a bluesy freight-train song. There were a lot of those songs at the time, like \u2018Midnight Special\u2019, \u2018Freight Train\u2019, \u2018Rock Island Line\u2019, so this was the \u2018One After 909\u2019; she didn\u2019t get the 909, she got the one after it! It was a tribute to British Rail, actually. No, at the time we weren\u2019t thinking British, it was much more the Super Chief from Omaha.\u201d<\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">Despite its early origins, the song never got much attention for any of the band\u2019s preceding albums. McCartney explained: \u201cIt was a number we didn\u2019t use to do much but it was one that we always liked doing, and we rediscovered it\u2026It\u2019s not a great song but it\u2019s a great favorite of mine.\u201d In the nostalgic efforts of the band to reconnect to their roots and re-establish their friendships, \u201cOne After 909\u201d holds a special place. It was one of the few songs included in their January 30<\/span><span class=\"s4\"><sup>th<\/sup><\/span><span class=\"s1\"> rooftop performance, with Lennon breaking into a line of \u201cDanny Boy\u201d as the song concluded. It was this performance that is included in the album, as well as the <i>Let It Be <\/i>film. <\/span><\/p>\n<p class=\"p10\"><span class=\"s1\"><b>The Long and Winding Road<\/b><\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">Perhaps the most controversial of the final tracks on <i>Let It Be, <\/i>\u201cThe Long and Winding Road\u201d was another one of McCartney\u2019s contributions to the album. However, it was in the final production of the track (in which producer Phil Spector \u2013 famous for his dramatic \u201cwall of sound\u201d arrangements \u2013 added a dense orchestration and choir) that the composer took most offense. In an April 1970 interview with the London <i>Evening Standard <\/i>McCartney explained: \u201cThe album was finished a year ago, but a few months ago American record producer Phil Spector was called in by John Lennon to tidy up some of the tracks. But a few weeks ago, I was sent a re-mixed version of my song \u201cThe Long and Winding Road,\u201d with harps, horns and an orchestra and women\u2019s choir added. No one had asked me what I thought. I couldn\u2019t believe it\u2026.it just goes to show that its no good me sitting here thinking I\u2019m in control because obviously I\u2019m not.\u201d Although he had asked for the added instrumentation and noises to be reduced in volume and the harp to be removed completely, the album was released a month later with all of Spector\u2019s additions still in place.<span class=\"Apple-converted-space\">\u00a0 <\/span>In an album that was centered in back-to-roots music making, Spector\u2019s lush production aesthetic, epitomized in this particular track, has been the element most oft criticized. So much so that in 2003 Apple Records released an alternative mix of the album entitled <i>Let It Be\u2026Naked, <\/i>which Anthony Decurtis reviewed in <i>Rolling Stone <\/i>saying: \u201c\u2026<i>Naked <\/i>exists essentially as an excuse for Paul McCartney, after decades of complaining, to finally remove Phil Spector\u2019s production effects from \u2018The Long and Winding Road.\u2019\u201d <\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">And yet, time has been kind to Spector\u2019s version of the track. On the one hand <i>Rolling Stone\u2019s <\/i>John Mendelsohn left a biting review on its original release in 1970, saying \u201cmusically, 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\u2019t.\u201d But upon hearing the stripped-down release in 2003, Decurtis wrote for the same magazine, that although \u201cthe sonic improvements as a whole are undeniable\u2026casual fans will wonder what the fuss was about\u201d and concluded \u201cnovices should still the get original.\u201d<span class=\"Apple-converted-space\">\u00a0 <\/span>When <i>Let It Be <\/i>remains the last musical statement the band gave us, its deficiencies tend to fade with the passage of time.<\/span><\/p>\n<p><b>For You Blue<\/b><\/p>\n<p class=\"p10\"><span class=\"s1\">In describing this contribution to the album, Harrison called \u201cFor You Blue\u201d a \u201csimple 12-bar song, following all the normal 12-bar principals, except that it\u2019s happy-go-lucky!\u201d<span class=\"Apple-converted-space\">\u00a0 <\/span>Much of its joy, comes from its intenions; Harrison had written the song for his wife Pattie. <\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">Immediately following the complexity of \u201cThe Long and Winding Road,\u201d \u201cFor Your Blue\u201d offers the back-to-basics sound that the other Spector modified tracks lack.<span class=\"Apple-converted-space\">\u00a0 <\/span>There is no bass guitar on the song, but features Lennon on a lap steel guitar and McCartney playing a modified piano. In his preparations for his work on the <i>Naked <\/i>album track,<i> <\/i>Paul Hicks was surprised to find how McCartney got the instrument\u2019s unique sound: \u201cIt\u2019s a fuzzy metallic sound, which he did by putting a piece of paper in the piano strings causing them to vibrate against the paper when struck.\u201d For a band that so often turned to progressive technology for the evolution of their sound, the physical manipulation of a traditional instrument is a fitting sonic complexity for a back-to-basics track.<br \/>\n<\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">During Lennon\u2019s solo, Harrison adlibs encouragement (\u201cGo, Johnny, go!\u201d) and other filler (\u201csame \u2018ol 12-bar blues\u201d and \u201cElmore James got nothing on this, baby\u201d). Spector\u2019s drafts of the track also included several lines of dialogue from the film footage \u2013 especially that from the rooftop concert &#8211; but ultimately the producer cut all of these additions, leaving only a faint introduction of Lennon saying \u201cQueen says no to pot-smoking FBI members.\u201d <\/span><\/p>\n<p class=\"p10\"><span class=\"s1\"><b>Get Back <\/b><\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">While the band discarded the working title of <i>Get Back <\/i>for both the film and accompanying album<i>, <\/i>the song is still given prime attention as the album\u2019s final track.<span class=\"Apple-converted-space\">\u00a0 <\/span>McCartney revealed shortly after the song\u2019s release that it began as an improvisation in the early days of the <i>Get Back <\/i>sessions: \u201cWe were sitting in the studio and we made it up out of thin air. We started to write words there and then. When we finished it, we recorded it at Apple Studios and made it into a song to rollercoast by.\u201d Finding the final version, however, would take many rehearsals and recording sessions. Womack notes that in a period of just 17 days, \u201cthe Beatles rehearsed some 59 iterations of \u2018Get Back.\u2019 In so doing, they slogged through a seemingly endless parade of false starts and bouts of sloppy instrumentation on the way to perfecting the distinctive galloping groove.\u201d As already mentioned, in the rooftop concert alone the band played through the song several times, and in the end it was only Lennon\u2019s off-the-cuff remark concluding with \u201c\u2026I hope we passed the audition\u201d from this performance that made it into the final track of the album. This dry moment of humor serves as a fitting final sonic epitaph for the band.<\/span><\/p>\n<p class=\"p10\"><span class=\"s1\"><i>Let It Be, <\/i>as an album, is a curious and inconsistent artifact of the January 1969 <i>Get Back <\/i>sessions. The project was a valiant effort to rekindle the friendships and inspire the creativity of the band, with moments of comic release and collaborative spark. When a fed-up Harrison quit the band early in the sessions, he attended a Ray Charles concert, where he heard Bill Preston on organ. Preston then returned with<i> <\/i>Harrison to the studio, and his presence seemed to help ease some tension and renew excitement for the project.<span class=\"Apple-converted-space\">\u00a0 <\/span>He even played with the band on the rooftop concert and his contributions are heard and credited on the final album (including on \u201cOne After 909\u201d and \u201cGet Back\u201d). But despite Preston\u2019s rejuvenating presence, the sessions were often a tension-filled and ultimately, perhaps an overly ambitious effort to complete under the blaring spotlight of film crews capturing it all. <\/span><\/p>\n<p class=\"p10\"><span class=\"s1\">Fifty years after its release, <i>Let It Be <\/i>remains an appropriately flawed and yet beloved testament to the Beatles failed reconciliation in the <i>Get Back <\/i>sessions. <\/span><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_column_text]Jerry Hammack has devoted 8 years of his life to research every tiny detail of the Beatles career and recoding process he could find. He wanted to \u2018Write the book, that [he] didn\u2019t have\u2018. Jerry has collected over 5700 Beatles recordings, from original mono Vinyl masters to outtakes and remixes. He\u2019s talked to engineers, producers&hellip;<\/p>\n","protected":false},"author":25,"featured_media":48699,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[1,1145],"tags":[],"class_list":["post-48695","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-audio-engineering","category-inside-the-song"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Beatles - Let It Be: Album Breakdown with Jerry Hammack - Produce Like A Pro<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/producelikeapro.com\/blog\/the-beatles-let-it-be-album-breakdown-with-jerry-hammack\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Beatles - Let It Be: Album Breakdown with Jerry Hammack - Produce Like A Pro\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_column_text]Jerry Hammack has devoted 8 years of his life to research every tiny detail of the Beatles career and recoding process he could find. He wanted to \u2018Write the book, that [he] didn\u2019t have\u2018. Jerry has collected over 5700 Beatles recordings, from original mono Vinyl masters to outtakes and remixes. 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