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Let It Be is the twelfth and final studio album by the English rock band the Beatles. It was released on 8 May 1970, almost a month after the group's public break-up, in tandem with the documentary of the same name. Concerned about recent friction within the band, Paul McCartney had conceived the project as an attempt to reinvigorate the group by returning to simpler rock 'n' roll configurations.[2] Its rehearsals started at Twickenham Film Studios on 2 January 1969 as part of a planned television documentary showing the Beatles' return to live performance.

The filmed rehearsals were marked by ill feeling, leading to George Harrison's temporary departure from the group. As a condition of his return, the members reconvened at their own Apple Studio, and recruited guest keyboardist Billy Preston. Together, they performed a famous single public concert held on the studio's rooftop on 30 January, from which three of the album's tracks were drawn. In April, the Beatles issued the lead single "Get Back", backed with "Don't Let Me Down", after which engineer Glyn Johns prepared and submitted mixes of the album, then titled Get Back, which the band rejected. As bootlegs of these mixes circulated widely among fans,[2] the project lay in limbo, and the group moved onto the recording of Abbey Road, released that September.

In January 1970, four months after John Lennon departed from the band, the remaining Beatles completed "Let It Be" and recorded "I Me Mine". The former was issued as the second single from the album with production by George Martin. When the documentary film was resurrected for a cinema release, as Let It Be, Lennon and Harrison asked American producer Phil Spector to assemble the accompanying album. Among Spector's choices was to include a 1968 take of "Across the Universe" and apply orchestral and choral overdubs to three tracks. His work offended McCartney, particularly in the case of the third and final single of the album "The Long and Winding Road".

Let It Be topped record charts in several countries, including both the UK and the US, but was a critical failure at the time, and came to be regarded as one of the most controversial rock albums in history.[3][4] In 2003, McCartney spearheaded Let It Be... Naked, an alternative version of Let It Be that removes Spector's embellishments and alters the tracklist. In 2021, another remixed and expanded edition of Let It Be was released with session highlights and the original 1969 Get Back mix, coinciding with The Beatles: Get Back, an eight-hour documentary series covering the January 1969 sessions and rooftop concert.

The Beatles completed the five-month sessions for their self-titled double album (also known as the "White Album") in mid-October 1968.[5] While the sessions had revealed deep divisions within the group for the first time, leading to Ringo Starr quitting for three weeks, the band enjoyed the opportunity to re-engage with ensemble playing, as a departure from the psychedelic experimentation that had characterised their recordings since the band's retirement from live performance in August 1966. Before the White Album's release, John Lennon enthused to music journalist Jonathan Cott that the Beatles were "coming out of our shell ... kind of saying: remember what it was like to play?"[6] George Harrison welcomed the return to the band's roots, saying that they were aiming "to get as funky as we were in the Cavern".[7]

The initial plan was that the rehearsal footage would be edited into a short TV documentary promoting the main TV special, in which the Beatles would perform a public concert or perhaps two concerts.[11][13] Michael Lindsay-Hogg had agreed to direct the project, having worked with the band on some of their promotional films.[11] The project's 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 1969.[14] The band intended to perform only new material and were therefore under pressure to finish writing an album's worth of songs.[15] Although the concert venue was not established when rehearsals began on 2 January,[16] it was decided that the 18th would serve as a potential dress rehearsal day; the 19th and 20th would serve as concert dates.[17]

The Twickenham rehearsals quickly disintegrated into what Apple Corps executive Peter Brown characterised as a "hostile lethargy".[18] Lennon and his partner Yoko Ono had descended into heroin addiction after their arrest on drugs charges in October and Ono's subsequent miscarriage.[19][20][21] Unable to supply his quota of new songs for the project, Lennon maintained an icy distance from his bandmates[22] and scorned McCartney's ideas.[20] By contrast, Harrison was inspired by his recent stay in the US; there, he enjoyed jamming with musicians in Los Angeles[23] and experienced a musical camaraderie and creative freedom with Bob Dylan and the Band in upstate New York that was lacking in the Beatles.[24][25] Harrison presented several new songs for consideration at Twickenham, some of which were dismissed by Lennon and McCartney.[22][25] McCartney's attempts to focus the band on their objective were construed as overly controlling,[26] particularly by Harrison.[22]

During a meeting on 15 January, the band agreed to Harrison's terms for returning to the group: they would abandon the plan to stage a public concert and move from the cavernous soundstage at Twickenham to their Apple Studio, where they would be filmed recording a new album, using the material they had gathered to that point.[14][34] The band's return to work was delayed by the poor quality of the recording and mixing equipment designed by Lennon's friend "Magic" Alex Mardas[35] and installed at Apple Studio, in the basement of the Apple Corps building at 3 Savile Row. Producer George Martin, who had been only a marginal presence at Twickenham, arranged to borrow two four-track recorders from EMI Studios;[36] he and audio engineer Glyn Johns then prepared the facility for the Beatles' use.[35]

Days after the sessions at Apple, Glyn Johns put together a rough-mix acetate of several songs for the band to listen to. This is often referred to as the "Untouched" or Elecktra mix and includes false starts and studio banter throughout.[citation needed]

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.[40] 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 film; the Let It Be album used the 31 January take of "Two of Us" but the same 26 January take of "The Long and Winding Road" that Johns had used). 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 four-minute edit of "Dig It".[41][nb 2] A tape copy of this acetate would later make its way to the United States, where it was played on radio stations in Buffalo and Boston over September 1969.[43]

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. Johns's 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, as Lennon had already left the band. "I Me Mine" was newly recorded on 3 January 1970, as it appeared in the film since no multi-track recording had yet been made. Johns also rearranged the playlist, moving "Let It Be" away from "The Long And Winding Road" onto the first side. The Beatles once again rejected the album.[49][50]

In most countries except the United States,[44] the Let It Be LP was originally presented in a box with a full colour book. The book contained photos by Ethan Russell from the January 1969 filming, dialogue from the film, with all expletives removed at EMI's insistence, and essays by Rolling Stone writers Jonathan Cott and David Dalton.[44][58] Despite the new album title, the book was still titled Get Back.[59] 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.[44] The book's lavishness increased production costs by 33 per cent, however,[60] driving the retail price higher than for any previous Beatles album.[61]

In the United States, the Let It Be album was issued in a gatefold cover and was initially distributed by United Artists Records instead of their usual Capitol Records, with the record using red-tinted Apple labels to reflect this change. (Capitol would acquire United Artists in 1979.) On both sides of the disc, the words "Phil+Ronnie" are inscribed into the inner dead wax.

The LP cover was designed by John Kosh and includes individual photos of the four band members, again taken by Russell.[45] 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.[62] Written by Apple press officer Derek Taylor,[59] the LP's liner notes described Let It Be as a "new phase Beatles album", adding that "in come the warmth and the freshness of a live performance; as reproduced for disc by Phil Spector". Martin and Johns were among those listed for "thanks to".[45]

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