Let It Be (album)#Recording and production

The Beatles completed the five-month sessions for their self-titled double album (also known as the "White Album") in mid-October 1968.{{sfn|Lewisohn|2005|p=162}} 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?"{{sfn|Schaffner|1978|p=113}} 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".{{cite magazine|first=Alan|last=Smith|title=George Is a Rocker Again! (Part 2)|magazine=NME|date=28 September 1968|page=3}}

Concerned about the friction over the previous year, Paul McCartney was eager for the Beatles to perform live again.{{sfn|Sulpy|Schweighardt|1999|p=2}} In early October 1968, he told the press that the band would soon play a live show for subsequent broadcast in a TV special.{{sfn|Miles|2001|p=311}} The following month, Apple Corps announced that the Beatles had booked the Roundhouse in north London for 12–23 December and would perform at least one concert during that time.{{sfn|Miles|2001|p=313}} When this plan came to nothing, Denis O'Dell, the head of Apple Films, suggested that the group be filmed rehearsing at Twickenham Film Studios, in preparation for their return to live performance,{{sfn|The Beatles|2021|p=29}} since he had booked studio space there to shoot The Magic Christian.{{sfn|Miles|2001|p=327}}

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.{{sfn|The Beatles|2021|p=29}}{{sfn|Sulpy|Schweighardt|1999|pp=2, 5}} Michael Lindsay-Hogg had agreed to direct the project, having worked with the band on some of their promotional films.{{sfn|The Beatles|2021|p=29}} 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.{{cite magazine|first=Jim|last=Irvin|title=Get It Better: The Story of Let It Be… Naked|magazine=Mojo|date=November 2003}} Available at [https://www.rocksbackpages.com/Library/Article/get-it-better-the-story-of-ilet-it-be-nakedi Rock's Backpages] (subscription required). The band intended to perform only new material and were therefore under pressure to finish writing an album's worth of songs.{{sfn|Doggett|2011|p=56}} Although the concert venue was not established when rehearsals began on 2 January,{{sfn|Sulpy|Schweighardt|1999|p=5}} it was decided that the 18th would serve as a potential dress rehearsal day; the 19th and 20th would serve as concert dates.The Beatles: Get Back| Jackson| 2021| 00:10:40

{{quote box|quote= It was a disaster. They were still exhausted from the marathon The Beatles sessions. Paul bossed George around; George was moody and resentful. John would not even go to the bathroom without Yoko at his side ... The tension was palpable, and it was all being caught on film.{{sfn|Miles|2001|p=327}}|source= – Barry Miles, The Beatles Diary|width=25%|align=right|style=padding:8px;}}

The Twickenham rehearsals quickly disintegrated into what Apple Corps executive Peter Brown characterised as a "hostile lethargy".Brown, Peter and Steven Gaines, "The Love You Make: An Insider's Story of the Beatles". {{ISBN|9781440674075}}. Lennon and his partner Yoko Ono had descended into heroin addiction after their arrest on drugs charges in October and Ono's subsequent miscarriage.{{sfn|Doggett|2011|pp=55–56}}{{sfn|O'Gorman|2003|p=72}}{{sfn|Miles|2001|p=321}} Unable to supply his quota of new songs for the project, Lennon maintained an icy distance from his bandmates{{sfn|Doggett|2011|p=59}} and scorned McCartney's ideas.{{sfn|O'Gorman|2003|p=72}} By contrast, Harrison was inspired by his recent stay in the US; there, he enjoyed jamming with musicians in Los Angeles{{sfn|MacDonald|2007|pp=328–29}} and experienced a musical camaraderie and creative freedom with Bob Dylan and the Band in upstate New York that was lacking in the Beatles.{{sfn|Doggett|2011|p=57}}{{sfn|O'Gorman|2003|p=73}} Harrison presented several new songs for consideration at Twickenham, some of which were dismissed by Lennon and McCartney.{{sfn|Doggett|2011|p=59}}{{sfn|O'Gorman|2003|p=73}} McCartney's attempts to focus the band on their objective were construed as overly controlling,{{sfn|MacDonald|2007|p=329}} particularly by Harrison.{{sfn|Doggett|2011|p=59}}

The atmosphere in the film studios, the early start each day, and the intrusive cameras and microphones of Lindsay-Hogg's film crew combined to heighten the Beatles' discontent.{{sfn|O'Gorman|2003|pp=71–72}} When the band rehearsed McCartney's "Two of Us" on 6 January, a tense 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.{{sfn|Miles|2001|p=328}} Harrison was also angry with Lennon for telling a music journalist that the Beatles' Apple organisation was in financial ruin.{{sfn|O'Gorman|2003|p=73}} 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.{{sfn|Winn|2009|pp=248–49}} Harrison denied this in a 16 January interview for the Daily Express, saying: "There was no punch-up. We just fell out."{{sfn|Sulpy|Schweighardt|1999|p=169}}{{refn|group=nb|The film audio tapes from 22 January capture Harrison and Lennon discussing the Daily Sketch article,{{sfn|Sulpy|Schweighardt|1999|p=206}} which was titled "The End of a Beautiful Friendship?"{{sfn|Winn|2009|p=249}} Lennon was offended by the idea that the Beatles would ever use violence against one another and is heard asking O'Dell whether they can sue Housego for his false reporting.{{sfn|Sulpy|Schweighardt|1999|p=206}}}} After lunch on 10 January, Harrison announced that he was leaving the band and told the others, "See you round the clubs." Starr attributed Harrison's exit to McCartney "dominating" him.{{sfn|Miles|2001|p=328}}{{cite book|first=Peter|last=Doggett|year=2003|chapter=Fight to the Finish|title=Mojo Special Limited Edition: 1000 Days of Revolution (The Beatles' Final Years – 1 January 1968 to 27 September 1970)|publisher=Emap|location=London|page=138}}

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.{{sfn|Miles|2001|pp=330, 331}} 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{{sfn|Miles|2001|p=331}} 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;{{sfn|The Beatles|2021|p=119}} he and audio engineer Glyn Johns then prepared the facility for the Beatles' use.{{sfn|Miles|2001|p=331}}

Sessions (and filming) at Apple began on 21 January.{{sfn|Winn|2009|pp=237, 249}} The atmosphere in the band was markedly improved.{{sfn|The Beatles|2021|p=119}} To help achieve this, Harrison invited keyboardist Billy Preston to participate, after meeting him outside the Apple building on 22 January.{{sfn|Miles|2001|p=331}} Preston contributed to most of the recording and also became an Apple Records artist.{{sfn|The Beatles|2021|pp=119, 121}} McCartney and Lindsay-Hogg continued to hope for a public concert by the Beatles to cap the project.{{sfn|The Beatles|2021|p=119}}

{{Main|The Beatles' rooftop concert}}

According to Beatles historian Mark Lewisohn, it is uncertain who thought of a rooftop concert, but the idea was conceived just days before the actual event.{{sfn|Lewisohn|2010|p=307}} In Preston's recollection, it was John Lennon who suggested it.{{sfn|Babiuk|2002|p=240}}

Until the last minute, according to Lindsay-Hogg, the Beatles were still undecided about performing the concert.In the Q&A session with Peter Jackson before the 30 January 2022 IMAX showing of the rooftop performance, Jackson said it was "about a half hour". He recalled that on 30 January, they had discussed it and then gone silent, until "John said in the silence, 'Fuck it – let's go do it.{{'"}}{{sfn|The Beatles|2021|p=193}} The four Beatles and Preston arrived on the roof at around 12:30 pm.{{sfn|The Beatles|2021|p=196}} When they began to play, there was confusion nearby among members of the public, many of whom were on their lunch break. As the news of the event spread, crowds began to congregate in the streets and on the flat rooftops of nearby buildings.{{cite news |date=30 January 2008 |title=Beatles rooftop birthday: It's 40 years since the fab four's last ever concert |url=https://www.bbc.co.uk/6music/news/20090130_beatles_rooftop.shtml |access-date=12 December 2013 |publisher=BBC}}

Police officers ascended to the roof just as the Beatles began the second take of "Don't Let Me Down".{{Cite web |date=2021-11-26 |title=The Beatles: Get Back Part 3: Days 17–22 |url=https://www.disneyplus.com/video/0a1a935f-d1dd-4514-bb6e-4876c65a9c13 |access-date=2021-11-29 |website=Disney+}} The concert came to an end with the conclusion of "Get Back".

Recording of the project (and filming) wrapped on 31 January.{{sfn|Sulpy|Schweighardt|1999|pp=311, 313}}

File:beatles_get_back_album_cover.jpg]]

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.{{sfn|Lewisohn|2005|p=171}} 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".{{sfn|Lewisohn|2005|p=176}}{{refn|group=nb|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.{{sfn|Winn|2009|pp=285–86}}}} 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.{{Cite web|url=https://www.collectorsmusicreviews.com/beatles/beatles-the-legendary-22-9-69-get-back-radio-broadcast-godfather-records-gr-412/|title = Beatles – the Legendary 22-9-69 'Get Back' Radio Broadcast (Godfather Records GR 412) – Collectors Music Reviews| date=23 September 2009 }}

The cover of the proposed album featured a photograph of the Beatles taken by Angus McBean on 13 May in the interior stairwell at EMI's Manchester Square headquarters.{{sfn|Spizer|2003|p=162}}{{sfn|Womack|2014|p=543}} 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.{{sfn|Lewisohn|2005|p=176}}{{refn|group=nb|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.{{sfn|Spizer|2003|pp=162, 228}}{{sfn|Lewisohn|2005|pp=176–77}}}} 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. The Beatles rejected the album.{{sfn|Schaffner|1978|p=117}}

The Get Back album was intended for release in July 1969, but its release was pushed back to September to coincide with the planned television special and the theatrical film about the making of the album. In September, the release was pushed back to December, because the Beatles had just recorded Abbey Road and wanted to issue that album instead. On 20 September, six days before Abbey Road was released, Lennon told McCartney, Starr, and business manager Allen Klein (Harrison was not present) that he "wanted a divorce" from the group.{{sfn|Miles|1997|p=561}} By December, the Get Back album had been shelved.

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.{{sfn|Lewisohn|2005|pp=195, 196}}{{sfn|Doggett|2011|p=112}}

Producer Phil Spector was invited by Lennon and Harrison to take on the task of turning the Beatles' abandoned Get Back recording sessions into a usable album.{{sfn|Hamelman|2009|pp=136–37}} The songs "Get Back" and "Don't Let Me Down" had been released on a single in April 1969 and "Let It Be" was the A-side of the band's March 1970 single.{{sfn|Sulpy|Schweighardt|1999|pp=314, 315}} To coincide with the single, the project was renamed Let It Be. The film, now with the new title, was premiered in New York City on 13 May 1970. One week later, UK premieres were held at the Liverpool Gaumont Cinema and the London Pavilion. None of the Beatles attended any of the premieres.{{cite book |last=Cross |first=Craig |title=The Beatles: Day-by-Day, Song-by-Song, Record-by-Record |publisher=iUniverse |year=2005 |isbn=0-595-34663-4 |page=306}}{{listen |filename=Let It Be sample.ogg |title="Let It Be" |description=The Beatles' "Let It Be" from Let It Be |filetype=Ogg}}

For the soundtrack album, Spector chose three tracks recorded live from the rooftop performance: "I've Got a Feeling", "One After 909" and "Dig a Pony". "Two of Us" was recorded "live in the studio" with the band members playing together in a single take, and without overdubs or splicing. Spector included "Dig It" and "Maggie Mae", which were improvised during the recordings. "Get Back", on the other hand, included only the section recorded on 27 January 1969, without the coda recorded the next day, and cross-faded to the remarks at the end of the rooftop concert.

Seven of the tracks were thereby released in accordance with the original plans for the Get Back project, whereas the album versions of "For You Blue", "I Me Mine", "Let It Be" and "The Long and Winding Road" include editing, splicing and/or overdubs. "Don't Let Me Down", recorded live in the studio two days before the rooftop concert, was omitted from the album.{{sfn|Sulpy|Schweighardt|1999|pp=315–16}} "Across the Universe" is an edited version of the original 1968 recording, 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.{{sfn|MacDonald|2007|p=277}}

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. Lennon defended Spector's work in his "Lennon Remembers" interview for Rolling Stone, saying, "He was given the shittiest load of badly recorded shit – and with a lousy feeling to it – ever. And he made something out of it. He did a great job. When I heard it, I didn't puke."{{cite magazine |last1=Wenner |first1=Jann S. |title=Lennon Remembers, Part One |url=https://www.rollingstone.com/music/music-news/lennon-remembers-part-one-186693/ |magazine=Rolling Stone |date=21 January 1971 |access-date=18 April 2020 |archive-date=17 April 2020 |archive-url=https://web.archive.org/web/20200417094034/https://www.rollingstone.com/music/music-news/lennon-remembers-part-one-186693/ |url-status=live }}

Lennon chose not to credit Johns for his contribution as a producer.{{sfn|Miles|2001|p=374}} 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'."{{cite book |last1=Lewis |first1=Michael |last2=Spignesi |first2=Stephen J. |title=100 Best Beatles Songs: A Passionate Fan's Guide |date=10 October 2009 |publisher=Hachette Books |isbn=9781603762656 |page=42 |url=https://books.google.com/books?id=3R1_REbXry8C&pg=PT42 |language=en |access-date=12 April 2017 |archive-date=13 April 2017 |archive-url=https://web.archive.org/web/20170413084507/https://books.google.com/books?id=3R1_REbXry8C&pg=PT42 |url-status=live }}

File:Letitbebox.jpg.]]In most countries except the United States,{{sfn|Spizer|2003|p=162}} 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.{{sfn|Spizer|2003|p=162}}{{sfn|Schaffner|1978|pp=116–17}} Despite the new album title, the book was still titled Get Back.{{sfn|Ingham|2006|p=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.{{sfn|Spizer|2003|p=162}} The book's lavishness increased production costs by 33 per cent, however,{{sfn|Lewisohn|2005|p=199}} driving the retail price higher than for any previous Beatles album.{{sfn|Woffinden|1981|p=34}}

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.{{sfn|Womack|2014|p=543}} 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.{{sfn|Harris|2003|p=132}} Written by Apple press officer Derek Taylor,{{sfn|Ingham|2006|p=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".{{sfn|Womack|2014|p=543}}

{{Music ratings

| title = Retrospective professional ratings

| rev1 = AllMusic

| rev1Score = {{Rating|4.5|5}}

| rev2 = Far Out Magazine

| rev2Score = {{Rating|4|5}}{{cite web|title=The Beatles – Let It Be album review|url=https://faroutmagazine.co.uk/the-beatles-let-it-be-album-review/|website=Far Out Magazine|access-date=2024-10-31}}

| rev3 = The A.V. Club

| rev3Score = B−{{cite news|last=Klosterman|first=Chuck|author-link=Chuck Klosterman|url=https://www.avclub.com/chuck-klosterman-repeats-the-beatles-1798217828|title=Chuck Klosterman Repeats The Beatles|newspaper=The A.V. Club|location=Chicago|date=8 September 2009|access-date=26 May 2013|archive-url=https://web.archive.org/web/20130522154556/http://www.avclub.com/articles/chuck-klosterman-repeats-the-beatles%2C32560/|archive-date=22 May 2013|url-status=live}}

| rev4 = Billboard

| rev4Score = {{Rating|4|5}}{{cite magazine|url=http://www.billboard.com/articles/review/6561045/beatles-let-it-be-track-by-track-album-review|title=The Beatles' 'Let It Be' at 45: Classic Track-by-Track Album Review|magazine=Billboard|date=8 May 2015|access-date=26 July 2017|last=Partridge|first=Kenneth|archive-date=7 July 2017|archive-url=https://web.archive.org/web/20170707195450/http://www.billboard.com/articles/review/6561045/beatles-let-it-be-track-by-track-album-review|url-status=live}}

| rev5 = Chicago Sun-Times

| rev5Score = {{Rating|2.5|4}}{{cite news|url=https://www.highbeam.com/doc/1P2-3852140.html|archive-url=https://web.archive.org/web/20180108175100/https://www.highbeam.com/doc/1P2-3852140.html|url-status=dead|archive-date=8 January 2018|title=Beatle Discs|newspaper=Chicago Sun-Times|date=26 October 1987|access-date=20 April 2017|last=McLeese|first=Don|url-access=subscription }}

| rev6 = Christgau's Record Guide

| rev6Score = A−{{cite book|chapter-url=https://www.robertchristgau.com/get_album.php?id=3483|chapter=The Beatles: Let It Be|access-date=3 October 2015|title=Christgau's Record Guide: Rock Albums of the '70s|last=Christgau|first=Robert|author-link=Robert Christgau|publisher=Ticknor and Fields|year=1981|isbn=0-89919-026-X|via=robertchristgau.com|url-access=registration|url=https://archive.org/details/christgausrecord00robe_1}}

| rev7 = The Daily Telegraph

| rev7Score = {{Rating|2|5}}{{cite news|url=https://www.telegraph.co.uk/culture/music/the-beatles/6139196/The-Beatles-Let-It-Be-8th-May-1970-review.html|title=The Beatles – Let It Be (8th May, 1970), review|newspaper=The Daily Telegraph|date=8 September 2009|access-date=11 December 2021|last=McCormick|first=Neil|archive-date=16 May 2017|archive-url=https://web.archive.org/web/20170516073426/http://www.telegraph.co.uk/culture/music/the-beatles/6139196/The-Beatles-Let-It-Be-8th-May-1970-review.html|url-status=live}}

| rev8 = Encyclopedia of Popular Music

| rev8Score = {{Rating|3|5}}{{cite book|last=Larkin|first=Colin|author-link=Colin Larkin (writer)|year=2006|publisher=Muze|title=Encyclopedia of Popular Music|volume=1|page=489|isbn=0195313739}}

| rev9 = Pitchfork

| rev9score = 9.1/10{{cite web|url=http://pitchfork.com/reviews/albums/13430-let-it-be/|title=The Beatles: Let It Be|work=Pitchfork|date=10 September 2009|access-date=3 October 2015|last=Richardson|first=Mark|archive-date=6 October 2015|archive-url=https://web.archive.org/web/20151006211353/http://pitchfork.com/reviews/albums/13430-let-it-be/|url-status=live}}

| rev10 = The Rolling Stone Album Guide

| rev10Score = {{Rating|3|5}}{{cite book|chapter=The Beatles|last=Sheffield|first=Rob|author-link=Rob Sheffield|title=The New Rolling Stone Album Guide|publisher=Simon & Schuster|edition=4th|year=2004|editor1-last=Brackett|editor1-first=Nathan|editor2-last=Hoard|editor2-first=Christian|isbn=0-7432-0169-8|pages=[https://archive.org/details/newrollingstonea00brac/page/51 51–54]}}

| rev11 = Sputnikmusic

| rev11Score = 4/5{{cite web|url=http://sputnikmusic.com/review/31609/The-Beatles-Let-It-Be/|title=The Beatles – Let It Be (album review 2) – Sputnikmusic|work=sputnikmusic.com|access-date=3 October 2015|archive-date=7 August 2013|archive-url=https://archive.today/20130807193654/http://www.sputnikmusic.com/review/31609/The-Beatles-Let-It-Be/|url-status=live}}

}}

Let It Be topped album charts in both the US 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".{{cite book|last=Badman|first=Keith|title=The Beatles Diary Volume 2: After the Break-Up 1970–2001|publisher= Omnibus Press|location=London|year=2001|isbn=978-0-7119-8307-6|page=9}} 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."{{cite news|last=Smith|first=Alan|title=The Beatles: Let It Be (Apple)|work=NME|date=9 May 1970|page=2}} Available at [http://www.rocksbackpages.com/Library/Article/the-beatles-let-it-be-apple Rock's Backpages] {{Webarchive|url=https://web.archive.org/web/20150907083941/http://www.rocksbackpages.com/Library/Article/the-beatles-let-it-be-apple |date=7 September 2015 }} (subscription required). 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".{{sfn|Doggett|2011|p=137}} 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."{{cite magazine|last=Mendelsohn|first=John|url=https://www.rollingstone.com/music/albumreviews/let-it-be-19700611|title=The Beatles Let It Be Album Review|magazine=Rolling Stone|date=11 June 1970|access-date=25 March 2015|archive-date=17 October 2017|archive-url=https://web.archive.org/web/20171017094329/https://www.rollingstone.com/music/albumreviews/let-it-be-19700611|url-status=live}}

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".{{cite magazine|first=John|last=Gabree|title= Review: The Beatles Let It Be; Paul McCartney McCartney; Ringo Starr Sentimental Journey|magazine=High Fidelity|date=August 1970|page=110}} 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." 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."{{cite book|first=John|last=Harris|chapter=Let It Be: Can You Dig It?|title=Mojo Special Limited Edition: 1000 Days of Revolution (The Beatles' Final Years – 1 January 1968 to 27 September 1970)|publisher=Emap|location=London|year=2003|page=132}}

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'". Reviewing for The Daily Telegraph in 2009, Neil McCormick described Let It Be as a "slightly sad postscript", adding, "there are still monster tunes here by anyone else's standards, but it lacks sonic clarity, and is peppered with under-developed, sub-standard blues."

Let It Be was ranked number 86 in Rolling Stone{{'}}s list of the 500 Greatest Albums of All Time in 2003,{{cite magazine |url=https://www.rollingstone.com/news/story/6598123/86_let_it_be |archive-url=https://web.archive.org/web/20060316134717/http://www.rollingstone.com/news/story/6598123/86_let_it_be/ |url-status=dead |archive-date=16 March 2006 |title=The RS 500 Greatest Albums of All Time |date=18 November 2003 |magazine=Rolling Stone |access-date=10 December 2007}} number 392 in the 2012 version,Wenner, Jann S., ed. (2012). Rolling Stone – Special Collectors Issue – The 500 Greatest Albums of All Time. USA: Wenner Media Specials. {{ISBN|978-7-09-893419-6}} and number 342 in the 2020 edition.{{Cite magazine|date=22 September 2020|title=The 500 Greatest Albums of All Time|url=https://www.rollingstone.com/music/music-lists/best-albums-of-all-time-1062063/|access-date=10 July 2021|magazine=Rolling Stone|language=en-US|archive-date=22 September 2020|archive-url=https://web.archive.org/web/20200922163403/https://www.rollingstone.com/music/music-lists/best-albums-of-all-time-1062063/|url-status=live}}

It was voted number 890 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000).{{cite book|title=All Time Top 1000 Albums|first=Colin|last=Larkin|author-link=Colin Larkin|publisher=Virgin Books|date=2006|edition=3rd|isbn=0-7535-0493-6|page=273}} On Metacritic, the 50th Anniversary multi-disc Super Deluxe Edition of the album holds a score of 91 out of 100, based on seven professional reviews, indicating "universal acclaim".{{cite web|url=https://www.metacritic.com/music/let-it-be-2021-mix-super-deluxe-edition-box-set/the-beatles |title=Let It Be [2021 Mix – Super Deluxe Edition]|publisher=Metacritic|access-date=21 October 2021}}

In 1971, Let It Be won the Grammy Award for the Best Original Score Written for a Motion Picture or Television Special.{{sfn|Schaffner|1978|p=216}} It was also one of the nominations for the Grammy Award for Best Contemporary Vocal Performance by a Duo, Group or Chorus.{{sfn|Womack|2014|p=544}} Despite his objections to Spector's embellishments and the expensive packaging, including the "blatant hype" printed on the LP's back cover,{{sfn|Lewisohn|2005|p=199}} McCartney personally accepted the band's award.{{sfn|Schaffner|1978|p=138}}{{refn|group=nb|McCartney later said that when preparing the Let It Be album for release in 1970, they all knew that the Beatles were no more and, with regard to the sleeve's "new phase" claim, "nothing was further from the truth." He added that Klein had arranged for the album to be "reproduced" because he did not find it sufficiently commercial.{{sfn|Womack|2014|pp=543–44}}}} That same year, the Beatles won the Academy Award for the Best Original Song Score for the songs in the film.{{cite web |title=The 43rd Academy Awards, 1971 |url=http://www.oscars.org/oscars/ceremonies/1971 |website=Oscars |date=4 October 2014 |publisher=Academy of Motion Picture Arts and Sciences |access-date=17 April 2017 |language=en |archive-date=2 April 2015 |archive-url=https://web.archive.org/web/20150402003910/http://www.oscars.org/oscars/ceremonies/1971 |url-status=live }}

In 1988, the Slovenian band Laibach released a martial industrial version of the album, also titled Let It Be.{{sfn|Miles|2001|p=381}} Beatles author Kenneth Womack comments on Laibach's notable exclusion of the title track and describes the album as "military style interpretations and choral pieces".{{sfn|Womack|2014|p=544}} For the magazine's October 2010 issue, Mojo released Let It Be Revisited,{{sfn|Womack|2014|p=544}} a CD containing interpretations of the songs by acts such as Beth Orton, Phosphorescent, Judy Collins, Wilko Johnson, the Besnard Lakes, John Grant and the Jim Jones Revue.{{cite web|title=Mojo 203 / October 2010|url=http://www.mojo4music.com/1889/mojo-issue-203-october-2010|archive-url=https://web.archive.org/web/20160830143957/http://www.mojo4music.com/1889/mojo-issue-203-october-2010|archive-date=30 August 2016|publisher=mojo4music.com|access-date=11 December 2021}}

In 1976, the United Artists release of the Let It Be album went out of print in America until 1979, when United Artists Records was acquired by Capitol Records. Let It Be was reissued on the Capitol label, catalogue number SW 11922; during this three year hiatus, many counterfeit copies of the LP appeared on the market in the US.{{cite book|url=https://archive.org/details/bub_gb_pSQEAAAAMBAJ |title=Billboard – |via=Internet Archive |date=6 November 1976 |publisher=Nielsen Business Media |access-date=21 August 2011}}

{{Main|Let It Be... Naked}}

Paul McCartney, long unhappy with the original Phil Spector produced Let It Be LP, initiated a remix of the album, titled Let It Be... Naked which was released in 2003. The album was presented as an alternative attempt to capture the original artistic vision of the project, to "get back" to the rock and roll sound of the band's early years. The album features alternate takes, edits, and mixes of the songs, mainly removing elements added by Spector. The album omits the group chatter, "Maggie Mae" and "Dig It", and adds a live rooftop performance of "Don't Let Me Down", a song omitted from the original album and issued as the B side of the "Get Back" single in 1969.{{cite web |title=The Naked Truth About The Beatles' Let It BeNaked [sic] |url=http://mixonline.com/recording/interviews/audio_naked_truth_beatles/ |last=Hurwitz |first=Matt |publisher=Mix magazine/ Penton Media, Inc |date=1 January 2004 |access-date=21 February 2010 |url-status=dead |archive-url=https://web.archive.org/web/20100131010312/http://mixonline.com/recording/interviews/audio_naked_truth_beatles/ |archive-date=31 January 2010}}.{{cite web |url=http://www.mixonline.com/recording/interviews/audio_naked_truth_beatles/ |title=The Naked Truth About the Beatles' Let It BeNaked |access-date=7 July 2015 |url-status=unfit |archive-url=https://web.archive.org/web/20040607023829/http://www.mixonline.com/recording/interviews/audio_naked_truth_beatles/ |archive-date=7 June 2004 }}

{{Main|Let It Be: Special Edition}}

In November 2021, The Beatles: Get Back, a new documentary directed by Peter Jackson using footage captured for the Let It Be film, was released on Disney+ as a three-part miniseries.{{Cite web|title='The Beatles: Get Back', a Disney+ Original Documentary Series Directed by Peter Jackson, to Debut Exclusively on Disney+|url=https://www.thebeatles.com/news/%E2%80%9C-beatles-get-back%E2%80%9D-disney-original-documentary-series-directed-peter-jackson-debut-exclusively|access-date=7 July 2021|website=The Beatles|language=en|archive-date=17 June 2021|archive-url=https://web.archive.org/web/20210617142958/https://www.thebeatles.com/news/%E2%80%9C-beatles-get-back%E2%80%9D-disney-original-documentary-series-directed-peter-jackson-debut-exclusively|url-status=live}} It was originally going to be theatrically released in 2020 to coincide with the 50th anniversary of the Let It Be album, but was delayed to November 2021 and moved to Disney+. A book also titled The Beatles: Get Back was released in October 2021, ahead of the documentary.{{cite web|date=13 August 2021|title=The Beatles Expanded Let It Be/Get Back Release Is Due In October|url=https://www.noise11.com/news/the-beatles-expanded-let-it-be-get-back-release-is-due-in-october-20210813|access-date=26 August 2021|publisher=noise11.com|archive-date=15 October 2021|archive-url=https://web.archive.org/web/20211015165755/https://www.noise11.com/news/the-beatles-expanded-let-it-be-get-back-release-is-due-in-october-20210813|url-status=live}}

A super deluxe version of the album was released on 15 October 2021.

All songs written by Lennon–McCartney, except where noted. Lead vocals according to Ian MacDonald.{{sfn|MacDonald|2007|pp=276, 328–341, 367}}

{{Track listing

| headline = Side one

| all_writing =

| extra_column = Lead vocals

| title1 = Two of Us

| writer1 =

| extra1 = McCartney and Lennon

| length1 = 3:36

| title2 = Dig a Pony

| writer2 =

| extra2 = Lennon

| length2 = 3:54

| title3 = Across the Universe

| writer3 =

| extra3 = Lennon

| length3 = 3:48

| title4 = I Me Mine

| note4 = George Harrison

| extra4 = Harrison

| length4 = 2:26

| title5 = Dig It

| note5 = Lennon, McCartney, Harrison, Richard Starkey

| extra5 = Lennon

| length5 = 0:50

| title6 = Let It Be

| writer6 =

| extra6 = McCartney

| length6 = 4:03

| title7 = Maggie Mae

| note7 = traditional; arranged by Lennon, McCartney, Harrison, Starkey

| extra7 = Lennon and McCartney

| length7 = 0:40

| total_length = 19:17

}}

{{Track listing

| headline = Side two

| extra_column = Lead vocals

| title1 = I've Got a Feeling

| writer1 =

| extra1 = McCartney and Lennon

| length1 = 3:37

| title2 = One After 909

| writer2 =

| extra2 = Lennon with McCartney

| length2 = 2:54

| title3 = The Long and Winding Road

| writer3 =

| extra3 = McCartney

| length3 = 3:38

| title4 = For You Blue

| note4 = Harrison

| extra4 = Harrison

| length4 = 2:32

| title5 = Get Back

| writer5 =

| extra5 = McCartney

| length5 = 3:09

| total_length = 15:50

35:10

}}

According to Mark Lewisohn:{{sfn|Lewisohn|2005|pp=176, 196}}

{{col-begin}}

{{col-break}}

Get Back version one (May 1969)

Side one

1. "One After 909"
2. "Rocker / Save the Last Dance for Me" (Doc Pomus, Mort Shuman)
3. "Don't Let Me Down"
4. "Dig a Pony"
5. "I've Got a Feeling"
6. "Get Back"

Side two

1. "For You Blue"
2. "Teddy Boy"
3. "Two of Us"
4. "Maggie Mae"
5. "Dig It"
6. "Let It Be"
7. "The Long and Winding Road"
8. "Get Back (reprise)"

{{col-break}}

Get Back version two (January 1970)

Side one

1. "One After 909"
2. "Rocker / Save the Last Dance for Me" (Pomus, Shuman)
3. "Don't Let Me Down"
4. "Dig a Pony"
5. "I've Got a Feeling"
6. "Get Back"
7. "Let It Be"

Side two

1. "For You Blue"
2. "Two of Us"
3. "Maggie Mae"
4. "Dig It"
5. "The Long and Winding Road"
6. "I Me Mine"
7. "Across the Universe"
8. "Get Back (reprise)"

{{col-end}}

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" 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, maracas 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 – 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

{{col-begin}}

{{col-2}}

Weekly charts

Weekly charts (1987 reissue)

Weekly charts (2009 reissue)

Weekly charts (2021 reissue)

{{col-break}}

Year-end charts

Decade-end charts

{{col-end}}

{{certification Table Top|caption=Certifications and sales for Let It Be}}

{{Certification Table Entry|region=Argentina|type=album|title=Let It Be|artist=The Beatles|award=Platinum|number=2|relyear=1970|certyear=1991|certref={{cite web|url=http://www.capif.org.ar/Default.asp?PerDesde_MM=0&PerDesde_AA=0&PerHasta_MM=0&PerHasta_AA=0&interprete=&album=&LanDesde_MM=1&LanDesde_AA=1980&LanHasta_MM=12&LanHasta_AA=2010&Galardon=O&Tipo=1&ACCION2=+Buscar+&ACCION=Buscar&CO=5&CODOP=ESOP |archive-url=https://web.archive.org/web/20110706084844/http://www.capif.org.ar/Default.asp?PerDesde_MM=0&PerDesde_AA=0&PerHasta_MM=0&PerHasta_AA=0&interprete=&album=&LanDesde_MM=1&LanDesde_AA=1980&LanHasta_MM=12&LanHasta_AA=2010&Galardon=O&Tipo=1&ACCION2=+Buscar+&ACCION=Buscar&CO=5&CODOP=ESOP |archive-date= 6 July 2011 |title=Discos de oro y platino |access-date=30 September 2019 |publisher=Cámara Argentina de Productores de Fonogramas y Videogramas |language=es |url-status=dead }}}}

{{certification Table Entry|title=Let It Be|type=album|artist=The Beatles|region=Australia|certyear=2009|award=Platinum|access-date=12 October 2012}}

{{certification Table Entry|title=Let It Be|type=album|artist=The Beatles|region=Canada|relyear=1970|certyear=2022|award=Platinum|number=4|access-date=10 September 2023}}

{{certification Table Entry|title=Let It Be|type=album|artist=The Beatles|region=Denmark|relyear=1970|certyear=2016|relmonth=5|certmonth=9|award=Platinum|id=4668|access-date=12 July 2020}}

{{certification Table Entry|title=Let It Be|type=album|artist=The Beatles|region=France|certyear=1977|relyear=1970|award=Gold|source=infodisc|access-date=12 October 2012}}

{{certification Table Entry|title=Let It Be|type=album|artist=The Beatles|region=Italy|certyear=2020|relyear=1970|award=Gold|id=1668|note=sales since 2009|access-date=31 August 2020}}

{{Certification Table Entry|region=New Zealand|type=album|title=Let It Be|artist=The Beatles|award=Platinum| number=2|relyear=1970|id=2009-09-11|source=newchart|access-date=2024-11-20|note=Reissue}}

{{certification Table Entry|title=Let It Be|type=album|artist=Beatles|region=United Kingdom|relyear=1970|award=Platinum|certyear=2019|access-date=3 January 2020|id=3797-1786-2}}

{{certification Table Entry|title=Let It Be|type=album|artist=The Beatles|region=United States|relyear=1970|award=Platinum|number=4|access-date=12 October 2012}}

{{certification Table Bottom | streaming=true}}

{{small|{{sup|{{Dagger}}}} BPI certification awarded only for sales since 1994.{{cite news|url=https://www.bbc.co.uk/news/entertainment-arts-23927271|title=Beatles albums finally go platinum|work=British Phonographic Industry|publisher=BBC News|date=2 September 2013|access-date=4 September 2013|archive-date=10 April 2014|archive-url=https://web.archive.org/web/20140410171041/http://www.bbc.co.uk/news/entertainment-arts-23927271|url-status=live}}}}

• Outline of the Beatles
• The Beatles timeline

{{Reflist|group=nb}}

{{Reflist|30em}}

{{Refbegin|30em}}

• {{cite book |last=Babiuk |first=Andy |author-link=Andy Babiuk |year=2002 |title=Beatles Gear: All the Fab Four's Instruments, from Stage to Studio |publisher=Backbeat Books |location=San Francisco, CA |isbn=978-0-87930-731-8}}
• {{cite book|author=The Beatles|title=The Beatles: Get Back|publisher=Callaway Arts & Entertainment|location=London|year=2021|isbn=978-0-935112962}}
• {{cite book|last=Doggett|first=Peter|author-link=Peter Doggett|title=You Never Give Me Your Money: The Beatles After the Breakup|publisher=It Books|location=New York, NY|year=2011|isbn=978-0-06-177418-8}}
• {{cite book|first=Steve|last=Hamelman|chapter=On Their Way Home: The Beatles in 1969 and 1970|editor-last=Womack|editor-first=Kenneth|year=2009|title=The Cambridge Companion to the Beatles|location=Cambridge, UK|publisher=Cambridge University Press|isbn=978-0-521-68976-2}}
• {{cite book|last=Ingham|first=Chris|title=The Rough Guide to the Beatles|publisher=Rough Guides/Penguin|location=London|year=2006|isbn=978-1-84836-525-4}}
• {{cite book|first=Mark|last=Lewisohn|author-link=Mark Lewisohn|title=The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962–1970|publisher=Bounty Books|location=London|year=2005|orig-year=1988|isbn=978-0-7537-2545-0}}
• {{cite book |last=Lewisohn |first=Mark |author-link=Mark Lewisohn |orig-year=1992 |year=2010 |title=The Complete Beatles Chronicle: The Definitive Day-by-Day Guide to the Beatles' Entire Career |publisher=Chicago Review Press |isbn=978-1-56976-534-0}}
• {{cite book |last=MacDonald |first=Ian |author-link=Ian MacDonald |title=Revolution in the Head |year=2007 |publisher=Chicago Review Press|location=Chicago, IL|isbn=978-1-55652-733-3 |url-access=registration |url=https://archive.org/details/revolutioninhead0003macd }}
• {{cite book|last=Miles|first=Barry|author-link=Barry Miles|title=Many Years from Now|title-link=Paul McCartney: Many Years from Now|year=1997|location=New York, NY|publisher=Henry Holt and Company|isbn=0-8050-5249-6}}
• {{cite book|last=Miles|first=Barry|author-link=Barry Miles|title=The Beatles Diary Volume 1: The Beatles Years|year=2001|publisher=Omnibus Press|location=London|isbn=0-7119-8308-9}}
• {{cite book|first=Martin|last=O'Gorman|year=2003|chapter=Film on Four|title=Mojo Special Limited Edition: 1000 Days of Revolution (The Beatles' Final Years – 1 January 1968 to 27 September 1970)|publisher=Emap|location=London|pages=68–75}}
• {{cite book|last=Schaffner|first=Nicholas|author-link=Nicholas Schaffner|title=The Beatles Forever|year=1978|publisher=McGraw-Hill|location=New York, NY|isbn=0-07-055087-5}}
• {{cite book |last=Spitz |first=Bob |title=The Beatles |publisher=Back Bay Books |year=2005 }}
• {{cite book|last=Spizer|first=Bruce|author-link=Bruce Spizer|title=The Beatles on Apple Records|publisher=498 Productions|location=New Orleans, LA|year=2003|isbn=0-9662649-4-0}}
• {{cite book|last1=Sulpy|first1=Doug|last2=Schweighardt|first2=Ray|title=Get Back: The Unauthorized Chronicle of the Beatles' Let It Be Disaster|publisher=St. Martin's Griffin|location=New York, NY|year=1999|isbn=0-312-19981-3}}
• {{cite book|last=Winn|first=John C.|year=2009|title=That Magic Feeling: The Beatles' Recorded Legacy, Volume Two, 1966–1970|publisher=Three Rivers Press|location=New York, NY|isbn=978-0-307-45239-9}}
• {{cite book|last=Woffinden|first=Bob|author-link=Bob Woffinden|title=The Beatles Apart|publisher=Proteus|location=London|year=1981|isbn=0-906071-89-5}}
• {{cite book|last=Womack|first=Kenneth|author-link=Kenneth Womack|year=2014|title=The Beatles Encyclopedia: Everything Fab Four|publisher=ABC-CLIO|location=Santa Barbara, CA|isbn=978-0-313-39171-2}}
• 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}}.

{{Refend}}

{{Wikiquote}}

• {{Discogs master|type=album|24212|name=Let It Be}}
• [https://web.archive.org/web/20030408070142/http://www.npr.org/programs/asc/archives/live031403/ The Lost Beatle Tapes / The Making of Let It Be]

{{Let It Be|state=expanded}}

{{The Beatles albums}}

{{Grammy Award for Best Score Soundtrack for Visual Media}}

{{Billy Preston}}

{{Phil Spector}}

{{Authority control}}

Category:1970 albums

Category:1970 soundtrack albums

Category:The Beatles albums

Category:The Beatles soundtracks

Category:Albums arranged by George Martin

Category:Albums produced by Phil Spector

Category:Albums recorded at Apple Studios

Category:Apple Records albums

Category:Apple Records soundtracks

Category:Blues albums by English artists

Category:Documentary film soundtracks

Category:Scores that won the Best Original Score Academy Award

Category:Grammy Award for Best Score Soundtrack for Visual Media