Recorded: 4 February 1968 – 1 April 1970
Producers: George Martin, Phil Spector
Engineers: Glyn Johns, Martin Benge, Ken Scott, Peter Bown, Phil McDonald, Jeff Jarratt
Released: 8 May 1970 (UK), 18 May 1970 (US)
John Lennon: vocals, acoustic guitar, electric guitar, lap steel guitar, bass guitar, organ, whistling
Paul McCartney: vocals, acoustic guitar, bass guitar, piano, electric piano, Hammond organ, maracas, whistling
George Harrison: vocals, acoustic guitar, electric guitar, tambura, maracas
Ringo Starr: drums, percussion, svaramandal
George Martin: Hammond organ, shaker
Billy Preston: Hammond organ, electric piano
Linda McCartney: backing vocals
Uncredited: 18 violins, four violas, four cellos, harp, three trumpets, three trombones, two guitarists, tenor saxophone, 14 choristers
Tracklisting:
Two Of Us
Dig A Pony
Across The Universe
I Me Mine
Dig It
Let It Be
Maggie Mae
I've Got A Feeling
One After 909
The Long And Winding Road
For You Blue
Get Back
The Beatles' last album to be released, Let It Be was mostly recorded in early 1969, prior to Abbey Road. The music was produced by George Martin, and was then prepared for release in 1970 by Phil Spector.
Following the often fractious sessions for the White Album in the summer of 1968, Paul McCartney realised The Beatles were in danger of fragmenting further if they continued to work independently of each other. Since the death of Brian Epstein on 27 August 1967 he had worked hard to keep the group motivated, and towards the end of 1968 he hit upon the idea of filming a television special in front of an audience.
We started Let It Be in January 1969 at Twickenham Studios, under the working title Get Back. Michael Lindsay-Hogg was the director. The idea was that you'd 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'd be in the concert.The original idea was to go on an ocean liner and get away from the world; you would see us rehearsing and then you'd finally see the pay-off. But we ended up in Twickenham. I think it was a safer situation for the director and everybody. Nobody was that keen on going on an ocean liner anyway. It was getting a bit fraught between us at that point, because we'd been together a long time and cracks were beginning to appear.
Anthology
The effort was to be a continuation of the back-to-basics ethos the group had adopted since Lady Madonna in February 1968. That single had marked a move away from The Beatles' elaborate studio experimentation of 1966 and 1967, with a return to more straightforward rock and roll, and much of the White Album and the Yellow Submarine soundtrack had followed in a similar vein.
Reconvening in January 1969 at Twickenham Film Studios, The Beatles began work on what was initially known as the Get Back project: the concept was a chance for the group to get back to their roots, with perhaps a return to live performance for the first time since 29 August 1966.
In a nutshell, Paul wanted to make – it was time for another Beatle movie or something, and Paul wanted us to go on the road or do something. As usual, George and I were going, 'Oh, we don't want to do it, fuck,' and all that. He set it up and there was all discussions about where to go and all that. I would just tag along and I had Yoko by then, I didn't even give a shit about anything. I was stoned all the time, too, on H etc. And I just didn't give a shit. And nobody did, you know. Anyway, it's like in the movie where I go to do Across The Universe, Paul yawns and plays boogie, and I merely say, 'Oh, anybody want to do a fast one?'
Lennon Remembers, Jann S Wenner
The plan, vague as it was in the early stages, was to perform one or more live shows, but with an added dimensions of a television show and record release. The January 1969 sessions began as rehearsals for a concert which was to be filmed, which they hoped would yield enough suitable material for an album.
The rehearsals were filmed at Twickenham by Michael Lindsay-Hogg, who had previously directed promotional films for Paperback Writer/Rain and Hey Jude/Revolution. Although none of it was intended to be released on record, on snippet of dialogue was included on Let It Be: John Lennon's announcement that "Queen says no to pot-smoking FBI members" prior to For You Blue.
Nonetheless, many hours of rehearsal and performance were filmed at Twickenham from 2-14 January 1969. The audio was captured by the camera crew on mono Nagra reel-to-reel machines, as it was expected to be used on the film soundtrack. It is due to these Nagra reels, which were also rolling at the Apple Studios sessions from 21-31 January, that so much of The Beatles' works in progress from the Let It Be sessions survives.
Paul had this idea that we were going to rehearse or... see it all was more like Simon and Garfunkel, like looking for perfection all the time. And so he has these ideas that we'll rehearse and then make the album. And of course we're lazy fuckers and we've been playing for twenty years, for fuck's sake, we're grown men, we're not going to sit around rehearsing. I'm not, anyway. And we couldn't get into it. And we put down a few tracks and nobody was in it at all. It was a dreadful, dreadful feeling in Twickenham Studio, and being filmed all the time. I just wanted them to go away, and we'd be there, eight in the morning. You couldn't make music at eight in the morning or ten or whenever it was, in a strange place with people filming you and coloured lights.
Lennon Remembers, Jann S Wenner
Let It Be, Naked or Not has two of Paul’s most long winded and nail scrapes aganst the blacboard. After seeing Anthology this past week, i forgot how he was the most annoying of the Beatles. Let It Be and Long and Winding Road could have ended a lot soone, but no, the camera’s were rolling. Let It Be was a recording of the breakup of a band and these two songs were the blueprint.
If you don’t like Paul McCartney then you don’t like the Beatles. Let it Be and Long and Winding Road are too of Paul’s masterpieces -as well as being two of the best songs on the Album. Really silly post..
Right on, Beatlesguru !!!
An astonishing comment. Let It Be and The Long and Winding Road are both beautiful songs that showcase two of McCartney’s best vocal ballad performances. It’s true that the latter piece suffers somewhat from Phil Spector’s arrangement taking things a little too far. He should have left off the choir and harp; the other orchestral parts would have sufficed. But it’s still a great number nonetheless.
As for being long winded, both songs clock in at under four minutes, which is a very typical length for a pop/rock song.
No, Antoni’s right. Echoed my thoughts exactly. The one time in fifteen years Paul actually impresses me with songs like Two Of Us and I’ve Got A Feeling, and all everyone wants to talk about is the overrated Long & Winding Road and the even more overrated Let It Be. This isn’t even to mention that two 40 second “songs” we’re included for seemingly no reason other than to say they had more tracks, that John’s incredible Don’t Let Me Down was excluded, and no one even mentions Across the Universe, one of the best on the album. What a mess. This is why I prefer the older albums
No, Antoni is not “right”. YOU may agree, but that only means his opinion is “right” for you.
Don’t Let Me Down was only “incredible” because Paul and to a lesser extent George put it together. On the Get Back tapes you can hear them putting together Don’t Let Me Down because John was too stoned to get anything together.
And Long and Winding Road and Let It Be are incredible beautiful heartfelt songs, the only problem with LWR is Spector’s ridiculous orchestrations and choir.
Being brand spanking new to this particular Beatles site, I was just fixing a whole wear the rain gets in, when I suddenly found meself wonderin’, In 2003 there was mention that the Let It Be film was about to be released. This film was last screened on British BBC2, Television in about 1982. A Saturday, If I recall… But is it any closer to being released. Any ideas???
Engineers started remastering the film a while back but decided the film was too “controversial”. Paul and Ringo do not want it released either. I doubt it will be released any time soon, especially during Paul, Ringo, Yoko Ono and Olivia Harrison’s lifetimes.
I’ve got a dvd of the movie. It’s great!
The whole album and sessions and film and all is so polemic!
Here’s why LIB doesn’t work for me – and this may be picky but here goes: because it is supposed to be the soundtrack to a movie and was intended to replicate the feel of live performances, the problem I have is this – listen through head phones and notice how many times John’s voice is on one side and his guitar is on the other side.
This completely wrecks the feel of a live performance. At least for me.
Sorry I can’t help but notice it.
Does anyone know if Paul fixed this on LIBN – I don’t have that CD.
It shouldn’t really make a difference. With multitrack recording, a live performance can be taped with simultaneously-played instruments routed to different tracks, which can then be mixed to different parts of the stereo spectrum. Of course, that’s not to say that all of the LIB performances were live – there were a number of overdubs added once they’d thrown the ‘live’ concept out of the window.
There are the overdubs done by spector onto three songs, the overdubs done by paul, ringo and george onto the song let it be and of course I Me Mine was recorded as though it were on the white album or abbey road (which was in fact a very good idea, they should have recorded the whole album in that way and it should have been produced by George Martin). Are there any other overdubs?
“marked a move away from The Beatles’ elaborate studio experimentation of 1966 and 1967, with a return to more straightforward rock and roll, and the White Album and much of the Yellow Submarine soundtrack had followed in a similar vein.”
I wouldn’t say much of the Yellow Submarine soundtrack was back to basics. There were 13 songs: 2 were repeats from previous albums/singles, 7 were George Martin’s orchestra songs, 2 were George Harrison’s songs neither of which sound back to basics, so that leaves 2 new Lennon-McCartney songs which could be called back to basics.
And certainly not all the White Albums was back to basics – Revolution 9, Wild Honey Pie.
I was referring to the ‘new’ songs on the YS soundtrack, though it probably needs clarifying. Certainly Hey Bulldog and All Together Now were a step away from their sound of 1967, though the George Harrison songs clearly aren’t.
As for the White Album, you’re right that there were some complex recordings on there, but nothing like to the same degree of Sgt Pepper or Strawberry Fields Forever. Much of it is fairly straightforward, thought with liberal doses of Beatles magic.
“And, let us not forget, even if the collection wasn’t The Beatles’ best, for many lesser bands these songs would have constituted a career peak.”
Couldn’t agree more. When fans always talk about this isn’t good or whatever, what we really mean is compared to The Beatles’ other stuff it isn’t as good, but it is still amazing.
Sorry Joe, but it does matter whether lennon’s voalcs and guitar are on the same stereo pan.
of course multitracking makes it possible to put an instrument and/or vocal anywhere in the spectrum, but that doesn’t make it “work”.
Even though the beatles abandoned the actual “live” recording technique, they still marketed and presented the album as a live experience – to go with the movie.
The intended feel of the record is to experience a live beatles performance (even if it wasn’t). So it’s an anomaly to have a musician’s voice separated from his instrument.
Of course perhaps I’m just too sensitive.
With electric instruments and microphones and amplifiers, modern live music often features “a musician’s voice separated from his instrument”; it is not anomalous.
Even though this LP features my least favorite Beatles song, I still enjoy the heck out of it – Spectorized or not. In fact, I wish all of the songs on it were recorded “live” on the roof top. It would have been very refreshing to hear a live Beatles recording without the screaming.
As an aside, I get a kick out of the Spector quote on page 5 of this article. I’m by no means a fan of his, but it’s the first time I’ve seen his defense in print. It’s actually pretty funny.
Yes, I love that quote. I used it on the Phil Spector profile as well.
Spector’s defense of his orchestral arrangement for The Long and Winding Road is indeed funny. It would be even better if it were actually true.
I’ve seen McCartney perform it live a couple of times within that 25-year span that Spector mentions. I’ve never heard any choir or harp, which were the major offenders for McCartney, as I recall.
The ’76 live version has a very spare brass arrangement, minus strings, that bears no resemblance at all to Spector’s work on the Let It Be album. It actually sounds much closer to the Let It Be…Naked version than to the Let It Be album.
The later performances in the late 80s and into the 90s have a bigger orchestral background. Those performances do borrow a few phrases here and there of the Spector arrangement, take some of the brass from the ’76 version, and add in some new wrinkles—but still no harps or choir.
An example of that can be heard on Tripping the Live Fantastic (1990). The net effect is a somewhat scaled back version that is far from being a copy of the Spector arrangement. I would call it slightly reminiscent of the original but smaller and less epic sounding. In other words, it’s closer in style to George Martin than Phil Spector.
So Spector’s claim and defense sounds good, but it’s way off the mark–unless McCartney has taken lately to performing it fully Spector style, which seems unlikely.
Dear all,
We would like to inform you about the following event :
LET IT BE live / The Beatles
by Yael Naim, Mathias Malzieu, Cocoon, Loney Dear, David Donatien, Camille O’Sullivan, Sense of Sound Singers,…
Paris (France), July 4th, Salle Pleyel
For the 40th anniversary of the release of the album Let It Be, David Coulter, who has collaborated with artists like Damon Albarn, Tom Waits and Marianne Faithfull, unites a young generation of European musicians to reinterpret the Beatles’ last album.
http://www.citedelamusique.fr/minisites/1007_daysoff/concert/en_let_it_be_live.aspx
I believe Paul made a mistake. He did allow female voices in their records. Yoko sang in The Continuing Story Of Bungalow Bill, and Yoko again along with Patti Harrison in Birthday. His wife Linda provided background vocals for Let It Be.
Yeah, and there was also the female choir in “Walrus” – and howbout those two Apple scruffs that Paul himself invited to sing on “Across The Universe”! He was either being wilfully obtuse, or exaggerating, or he had a terrible memory. (And the amount of dope he smoked would suggest the latter.) 🙂
Pretty sure Paul meant a female singing lead
and wasn’t there an entire choir on Good Night?
Ooh right, good catch!
LIB is both fantastic and disappointing. Eventhough substandard by usual Beatle standards, the songs are worthy and hold up against anything other artists put out at the same time (hell, for the next 40 years for that matter!). It was a disappointment in that it actually could have been far, far better. The Beatles are openly apathetic on LIB. Also, George’s growth as a songwriter could have (had he been allowed to contribute more songs)partly made-up for John’s growing indifference, dwindling song contributions and a seeming drop in the quality of his contributions. All Things Must Pass absolutely deserved to have been properly recorded and included on LIB (and NOT in place of, but in addition to, For You Blue and I Me Mine). It is no wonder why George walked out during these sessions and became hesitant to work as a Beatle ever again. What a pity (which reminds us that Harrison’s brilliant song Isn’t It A Pity was another in a list of George composed tunes rejected for Beatle records by John, Paul and/or George Martin). Thankfully, George recorded these on his own after the group’s dissoluion.
It is funny that people think of John towards end as not writing much but he was actually very creative and writing a ton. He just did not want to write for the beatles. Look at his first two solo albums Plastic Ono Band and Imagine, they are full fledged releases. Paul’s first solo albums while they are charming and having their bits (and the masterpiece ‘Maybe Im Amazed) are bit rough and incomplete.
I have always thought that “McCartney” was Paul’s attempt to complete the vision of the Get Back sessions: simple and back to basics.
There is nothing incomplete about Ram, it still sounds like a really well produced album even today. And McCartney was supposed to be “home made” and back to basics. I mean he did most of it in his living room on a 4 track. He wasn’t going for polished. He was going for rough.
This is not a Beatle album, is just a Spector work… A Spector album, soloist, taking the tapes and the band’s name…
Adding orchestra to a quarter of an album, while not doing anything else of his typical way isn’t bad. It’s called doing what you’re asked.
I think Phil Spector is treated unfairly when it comes to LIB. He had the unenviable task of wading through hours of recordings and make something of it–all with virtually no input for the band. The only sin Spector committed was not being George Martin. Martin is tasteful and understated; Spector (on all his works) is melodramatic and over-the-top. Spector simply delivered a Spector production. Lennon was reportedly happy with it. I have little patience for McCartney’s complaints. A bit like crying over spilt milk.
Actually I don’t think Spector did wade through that many hours of tapes. Most of the selection and filtering was done by Glyn Johns prior to Spector arriving.
When Spector began work he hit the ground running, completing his work in a matter of days (he needed just seven recording and mixing sessions in March and April 1970), with George Harrison and Allen Klein apparently present for most of the sessions. Ringo Starr even played on one.
I alway wondered why george was at most (or all) of the Spector sessions, but didn’t do the guitar overdubs which were probably done by some session guitarists. Maybe it was him on guitar but then we would know it (we also know that ringo did the drum overdubs). I really wonder who these guitarists were, maybe it was someone famous like eric clapton or so. But probably it will always be a secret who did the guitar overdubs on the long and winding road (and maybe on the other two songs)
I find this album to be sort of like that lost piece that you would love to retrieve, and it should be possible, yet, you can’t grasp it. What should this album really sound like? How should I hear it? Can I ever just enjoy it for what it is (the music is not terrible)? Aren;t the Beatles even apathetic, still worthy of that mystique that John says is gone? Should I listen to which version? Was perhaps the Glyns Get Back first or second version the way it should have been? Did Paul have the chance to save some of it in Naked, yet even he didn’t quite get it right?
As to defending or attacking Spector… I like his work from the 50’s for sure. But don’t see him as a producer for the Beatles. The thing is, he did what he thought was good, and I can stomach much of it (haven;t tried the winding road lately though). But I love Across the Universe. What bothers me, is that he adds such elaborate stiff to Beatle’s songs without Paul’s approval. In fact, Paul can not even change it after complaining. As an artist, this truly bothers me. I do not like the idea of hearing Beatle’s tracks with significant changes made by outside people that some of them would not have even preferred to work with.
Yet, if the group had been more coherent and civil by then, and perhaps less lazy, they could have seen it through. But maybe mistakes are what they are for a reason. Maybe it is better that the album is what it is and tells the story it tells. Maybe seeing a group like the Beatle’s not realize something is dramatic and powerful in a sense. Maybe if John wasn’t on ‘H’ he could have been more willing to be workable. Maybe Paul forced the idea on the others way too much. Why does money and business get such a say in determining art. So what if they needed another money. I would rather violate the contract and lose money (easy for me to say) than compromise the well being of the band and make an unenthusiastic project.
So much to say about all this… now how to listen?
This album is seriously underrated. The ‘naked’ version is by far and away my favorite Beatles album
There is a great and amazing album in there, but it’s never come out – not Glyn Johns, not Spector, not Paul’s. It’s like there’s a dullness to the sound – like a mask over the sound – it’s almost muffled. The crystal quality of their earlier recordings is missing. Was it their lousy attitude, bad recording equipment and set up at Apple versus Abbey Road, George Martin’s apathy from being told by Lennon “none of your production crap” – something’s missing – Lennon was right when he called it “lifeless” and it’s a shame because there is a great magnificent album in there.
Any chance that the movie would see the light of day again? This may sound crazy, but Let It Be is one of my favorite Beatles albums; despite some studio chicanery by Phil “Capitol Murder” Spector, the songs sound fresh, as if they listened to “I Want to Hold Your Hand” and enjoyed it.
Why did Paul McCartney leave the Get Back/Let It Be session tapes sitting around for over a year? He supervised the Get Back/Don’t Let Me Down single release, why didn’t he complete the album for release? How would Beatles history have been different if the album had come out in April 1969?
Side 1 could have been the rooftop performance – Get Back/Don’t Let Me Down/Dig A Pony/I’ve Got A Feeling/One After 909/Get Back reprise. Side 2 studio performance – Let It Be/For You Blue/Across The Universe/Two Of Us/Dig It/Long and Winding Road.
i just downloaded LIB – Naked and I’ve been listening to it constantly. I have always contended that, when all is said and done, The Beatles were just a rock band. And LIB Naked lets them be a rock band. The guitars come through – it’s clean, it cooks, it’s great. Even though they were done with each other, you don’t get that from the album. Paul and John singing together on Two of Us is magic. One After 909 is pure joy. I Dig a Pony is Lennon at his cheeky best. My only criticism is Long and Winding Road, which I’ve never liked. I listened to this version with great anticipation, thinking now I would finally get to appreciate it. But no. It’s still a crappy song. Maybe with just vocal and an acoustic guitar it might work better. Sorry, Paul.
Many people are trying to “remake” this album into something else – something they wish it to be. “Let it be naked” is that album. The original is simply… what it is. It is a documentary put to music. In early ’69 the group was falling apart. Let It Be is a sad epitaph for a dying rock band. Adding or removing songs from their “Last album” is fruitless. ( Abbey Road was the last recorded with a few minor additions to Let it Be).
A better exercise would be to take the best songs from their individual albums and single releases from ’70 and ’71 and create a double album – ala “White Album”. Between the four, their is enough “Beatle” sound to compile a really good album. Much like the White album, it would reflect individual styles and still retain a familiar, distinct sound. I would stop after December ’71 due to placing a time limit of music release, and distinct drop in quality of solo material in general from the members after ’71. I would not include any thing from “Wings Wildlife” or Lennon’s other albums.
Songs could be from the following Albums:
McCartney
Ram
Plastic Ono Band
Plastic Ono Band – Live In Peace Toronto
Imagine
All Things Must Pass
Singles could include:
HI, HI, HI
Another Day
Don’t Come Easy
Back Off Bugaloo
Instant Karma
Cold Turkey (if not from Live in Peace Toronto)
Come and Get It* – sorry Bad Finger, we’ll keep this one to ourselves
Could still be a fun exercise to compile these songs into a double album and wonder “What if?”.
Just a few thoughts.
I agree. If you’re in the audience, unless you’re sitting extremely close to the group, you would not hear voice on one side, guitar on the other. It would all be in the mix. Sounding more separated than a mono recording, but definitely nowhere near hard or even medium panned.
Hi Joe, setting aside the debate that Ringo actually played the svaramandal on an early take of “Across The Universe,” the instrument is not used on the final version, and therefore doesn’t appear on the Let It Be LP. Shouldn’t it be deleted from the album credits (otherwise Lizzie Bravo and Gayleen Pease deserve credit for backing vocals?). I only mention this because students in my class visit your site regularly and this tripped a few of them up. Keep up the good work!
Are you sure it’s not in the Spector mix? I thought I heard it in a few places, particularly towards the end. Lizzie and Gayleen are included on the Across The Universe article, but they don’t feature on this album.
Despite the controversies surrounding this album I love it, having got it back in 1978 as a 12 year old.John Lennons Across The Universe is beautiful and one of his best. Let It Be is a great song and one of Paul McCartneys finest. As is The Long and Winding Road, though McCartney hated Phil Spectors production of it which is fair enough. Get Back is a great rock song and I love The Two Of Us, I Me Mine, Dig A Pony and the One After 909, which Lennon and McCartney wrote back in the early days in Liverpool.
I always wondered why the US did not release this in a box set like the UK & Canada did????
While this album contains a certain dullness of sound there are none the less some hidden, if not totally underrated classsics such as I, me, mine and don’t let me down. If you count lib…naked that is.
Lennon always so negative calling the music junk, he’s the cookie monster in the trash can!!!
Let it be was my first Beatles single and LP. I can’t really listen to it any longer as I remember spending whole nights listening to this album! I’ve got the movie too now, plus “naked” and various bootlegs from the same sessions. Stand out songs are “two of us”, “across the universe”, One after 909 and “for you blue”. I can’t be rational when it comes to this album, too much of my teen age in it!
I saw the LIB movie as an impressionable teen. It was amazing to me to see the Beatles sounding so great while looking so casual! I knew that the album was considered their worst by those who knew such things. In fact the album was out of print during the first part of the 70’s. I bought it in the late 70’s and I loved it for the same reason that I loved the movie. It struck me that, hell, if this is their worst, wow, these guys are truly an amazing band. I don’t mind the Spector enhancements. To the contrary, the violins in The Long the Winding Road are terrific. I confess, I can understand how Paul might have objected to the chorus at the end. But even that sounds magic to me, even now. I particularly like the snippets of John making cracks between songs (maybe a poke at Paul preceding the title track), the false start on Dig a Pony, and the two odd throwaways, Dig It and Maggie Mae. My only complaints: Don’t Let Me Down belongs on that album; John sounds awfully tired and hoarse in Dig a Pony – so it drags; One After Nine O Nine is filler, possibly my least favorite Beatles song. The album is flawed, but it is an integral part of the Beatles history. McCartney’s revision with “….Naked” was not an improvement in my opinion.
I think that if one leaves aside the background story behind LIB, the album, and listens to the collection of songs in it, it’s a pretty good album. Perhaps not their best, specially if we considered it was their last release, but even with Phil Spector production values, there’s great music in it. As to Spector’s production, In think he did the right thing with LIB and TLAWR with the arrengements, except for the female choir on the latter, which makes it sound cheesy. That song lends itself to that kind of treatment. Its version on LIB Naked sounds, well, a little naked, though the song LIB on LIBN sounds awsome. One can hear Billy Preston’s organ more upfront and clear. He certainly added so much in the songs he recorded with The Beatles.
Ringo said, “And Yoko jumped in, of course; she was there.” Does anyone know if there is recorded audio of this statement? Or was it a written statement on Anthology? (I haven’t seen the film and don’t have the albums.) Changing the punctuation and inflection would give it a whole new meaning. “And Yoko jumped in. _Of course_, she was there.”
Being born in 1975, I was exposed to all of the Beatles music at about the same time (the early 80s) so I don’t have any prejudice against any album or song like some appear to have against LIB. If I were to make a top 20 playlist of my favorite Beatles songs, Dig a Pony, Get Back, One after 909, I’ve Got a Feeling, and Two of Us would definitely be included. And even though it wasn’t included in the original album but is on LIB…Naked, Don’t Let Me Down would be on my list too. And I like Let it Be and Long and Winding Road too, but just not enough to be top 20.
Most of the songs on this album are just great song along songs. IMO, they had to have been doing something right to get that many great songs on an album while the band is disintegrating.
Beatles album if they didn’t split
Late 1970
All things must pass
Maybe I’m amazed
Isolation
It don’t come easy
Look at me
Backseat of my car
Apple scruffs
That would be something
I found out
Every night
Love
Man we was lonely
If not for you
Hold on