'Let It Be' - The Release

May 1970 marked the final rituals of Beatlemania with the release of the group's last project.  On May 8, the album Let It Be was released in the United Kingdom, with its release in the United States coming ten days after.  The British edition came with a book of pictures of the January 1969 sessions from photographer Ethan Russell, "The Beatles Get Back," which was deleted in November 1970; in the U.S., fans only got an inner sleeve with a sampling of Russell's photos. In between the album's U.K. and U.S. release dates, "The Long and Winding Road" was issued as a single in America on May 11, followed by the Let It Be documentary movie receiving its world premiere on May 13 in . . . New York, a clear indicator of how important the U.S. had become to the group's success.   The film would have its British premiere in London a week after.

And as far as America was concerned, the dying embers of the Beatles couldn't have come at a more appropriate time.  May 1970 was also the month of the Kent State massacre in Ohio, which was followed shortly thereafter by the "hard hat riot" of Manhattan construction workers beating up anti-war demonstrators.  A new decade had arrived, and it had driven a stake in the heart of peace and love.  And Let It Be provided little comfort. 

The documentary movie, directed by Michael Lindsay-Hogg, was not a huge box-office success.  It's an interesting film, showing the Beatles going through the creative process and performing their songs live, and there are moments of genuine inspiration from their low-key performances of their lighter numbers to their flat-out rocking show on the Apple rooftop, as well as John Lennon and Yoko Ono waltzing together.  But there are also moments of sluggish playing, dull conversations, and the occasional argument, such as Paul McCartney lecturing a frustrated George Harrison on how to play a solo as Ringo Starr looks on.  The movie is also rather grainy, having been enlarged from 16-millimeter to 35-millimeter film so it could be shown in theaters, rather than on television as originally planned (it became the third movie the Beatles owed United Artists).  It's also rather short, somewhat mercifully so - though it's 82 minutes in length, fans found the movie to seem longer, and not in a good way.  It was hard for anyone to imagine how Lindsay-Hogg had filmed a month's worth of Beatles rehearsals and recording sessions, yet this was the best footage he could come up with.  In fact, it wasn't, as I will explain here . . . but Lindsay-Hogg's choice of material to lay out the narrative for the Get Back/Let It Be project didn't do anyone any favors.

The bad feeling the Beatles couldn't hide (oh, no) was evident in one scene where Paul, with his back to the camera, tells John how the Beatles have to overcome their nervousness over performing as a live unit again in order to shake off the discontent they've been feeling.  John listens politely but he obviously isn't buying Paul's diagnosis of the situation or the cure for the ennui the group is experiencing.

Commercially, the Let It Be LP was a success - after all, it was a Beatles record - but reactions to it devolved into controversy. 

The liner notes on the back cover were almost self-parody: "This is a new-phase BEATLES album . . . essential to the content of the film, LET IT BE was that they performed live for many of the tracks; in comes the warmth and freshness of a live performance; as reproduced for disc by Phil Spector."

In fact, fans found little warmth or freshness to be had, and many listeners believed that Spector's remixes - I'm just talking about the remixes of the songs he didn't overdub - were the sonic equivalent of warmed-over leftovers.  And they were especially peeved about the Spector's overdubs.  The pop press was especially disdainful, with Rolling Stone's John Mendelson praising the Beatles' music but declaring that Spector had managed to "turn several of the rough gems on the best Beatle album in ages into costume jewelry."  Time magazine punningly dubbed it "the specter of the Beatles," while over in merrie olde England,  Alan Smith of New Musical Express called it "a cardboard tombstone" and a "sad and tatty end to a musical fusion which wiped clean and drew again the face of pop music."  Other verdicts included "the black album" and "the wrong goodbye."

The Beatles' inner circle included its own detractors.  George Martin was mortified when he heard Spector's work, and Glyn Johns, denied the opportunity to have one of his two albums made from the Get Back/Let It Be tapes commercially released, was especially vicious in his assessment (pouring "nothing but scorn and vitriol" on the record, as Beatles author Mark Lewisohn noted).  But Paul McCartney continued to spit the most out of the tent.  Not just about "The Long and Winding Road" and Spector's overall "wall of sound approach," but about the whole package, calling the liner notes "blatant hype" and complaining about photographer Ethan Russell's monograph book for inflating the British LP's retail price by 33 percent.  (He might very well have been bothered by the fact that the book was a limited-edition gimmick to make the fans in Britain buy it before it got deleted.  If you wanted it, you could go and get it, but you had to hurry because it was going to go fast.)  But Spector's overall production techniques remained his biggest issue.

I've already reviewed Let It Be on this blog, so I won't repeat my assessment here.  (Just go to this link to read my original review.)  But I have to confess something; for all of the flaws with Spector's approach, he made a more presentable album than Glyn Johns did.  I have Johns' first attempt at making an album from the Get Back/Let It Be tapes as a bootleg - indeed, that record has circulated as a bootleg for as long as it has existed - and it's rather ragged, sounding somewhat exhausted.  I have to agree with Mark Lewisohn that, had either of Johns' two Get Back albums been issued, most of the critics might have reacted with greater hostility.  (Mendelson, who in fact had heard one of the Glyn Johns compilations before Spector's came out, would have been an exception.)

Spector doesn't get off the hook entirely.  It should be stressed again and again that he should have least made the album consistent and not tried to juxtapose the rough edges of Let It Be (the false starts and all that) with high-gloss touches.  But on balance, he did a decent job with it. And John Lennon certainly agreed.  "He worked like a pig on it," Lennon later said.  "I mean, he'd always wanted to work with the Beatles, and he was given the sh----est load of badly recorded sh-- and with a lousy feeling to it ever, and he made something out of it." Though, Lennon darned Spector with faint praise: "It wasn't fantastic, but when I heard it, I didn’t puke."

But Paul McCartney would continue to be indisposed by the mere thought of the album, and when he met Michael Lindsay-Hogg by chance on an airline flight in the early 2000s, they discussed reworking the Let It Be movie for a new home-video release and putting out a new companion LP for it.  Although the movie was not re-released,  Paul successfully got Abbey Road technicians Paul Hicks, Guy Massey, and Allan Rouse to concoct what many Beatles fans consider to be the definitive audio document of the Get Back/Let It Be sessions: 2003's Let It Be . . . Naked, which I reviewed in August 2015.  It was the intimate studio record Paul had always wanted, and even Ringo had to admit it was better than what Spector had come up with.  (Though, in all fairness, twenty-first-century technology that no one could have envisioned in 1970 was most likely what made Let It Be . . . Naked possible in the first place.)  

As for the movie . . . not only is it being restored for release for its fiftieth anniversary, but there will be a new movie culled from more than 55 hours of unreleased film and audio from the January 1969 sessions, to be called Get Back, from New Zealandic director Peter Jackson.  It will show the Beatles in a different light than the original Let It Be movie; instead of showing them breaking up, it will show the more lighthearted, laid-back moments of the Get Back/Let It Be sessions where they enjoyed themselves and got along as well as they did in the early days of Beatlemania.  I can't wait to see it. :-) 

On May 20, 1970, fifty years ago today (and, like today, a Wednesday), the Let It Be movie had its British premiere in London.  Thrice before, Beatles fans had gathered for a London premiere of a Beatles movie to catch a glimpse of the fabulous foursome themselves, and this night was no different.  What was different was that none of the Beatles showed up for this premiere.   It seems appropriate that George Harrison and Phil Spector (above), who oversaw the end of the Beatles era in an EMI Abbey Road control room two months earlier, would enter Abbey Road that same day to oversee the beginning of a new era - by beginning work on George's first studio album since the official breakup of the Beatles.

All things must pass away. 

The end.

*

"I didn't leave the Beatles.  The Beatles have left the Beatles - but no one wants to be the one to say the party's over." - Paul McCartney

(Below: A clip of the Beatles with Billy Preston performing "The Long And Winding Road," the Beatles' last American number-one single.)

The Beatles - The End

It shouldn't have been a surprise that the Beatles were suddenly no more in the early spring of 1970.  John Lennon and Paul McCartney were spending more time with their wives and found in them partners they needed more than they needed each other.  George Harrison wanted more room for his own songs after being relegated to two per LP with the group.  He increasingly preferred the company of other musicians, as was evident when he joined Delaney and Bonnie Bramlett for their 1969 British and Scandinavian tours.  And the rift between Paul and the other Beatles over their Apple Corps company didn't help.  Much to Paul's chagrin, the other three Beatles had let American pop manager Allen Klein, a man Paul vehemently distrusted, assume the directorship of Apple.

Paul was also getting uncomfortable being the de facto leader of a group that, unlike other rock bands, did not have an acknowledged leader.  But ever since Brian Epstein's death in August 1967, the Beatles had become Paul's group; it was he who had instigated Magical Mystery Tour, Apple, the Get Back/Let It Be project, Abbey Road, and five out of seven singles.  He had managed to keep Ringo, then George, from leaving the group, and more recently at this point he had been trying to keep John from making good on his intentions to leave.  But by now Paul had given up on the foursome being a group once more.

Although Paul never announced that the Beatles were breaking up - he only announced that he was leaving the Beatles - fans knew his departure meant the end of the group.  He had already cut the cord with the others over the release of his debut solo album, the back-cover picture from which is above (showing a disheveled Paul with newborn daughter Mary snuggled in his coat, in a picture taken by wife Linda).  When Paul insisted that his new album McCartney be released ahead of Let It Be, John and George sent Ringo to tell Paul to wait until after Let It Be was out to release his new album.  Paul went into a state of unabated fury and almost literally threw Ringo out of his house, forcing the other three Beatles to let Paul have his way.

In the meantime, Paul tried to have the overdubbed take of "The Long and Winding Road" restored to its original state.  He had approved of the Let It Be album's final mix to facilitate the album's release, but he resented the lush orchestra added to his song, the song that would be the Beatles' last American number-one single.  (The song was not released as a single in Great Britain.)  He would try to get the overdubs removed before Let It Be's release, demanding in a letter dated April 14, 1970 meant for Spector - but addressed to Klein - that the overdubs be removed with an admonition to never do anything like that again, but, because of his distrust for Klein and a communication gap with Klein and Spector, he was unsuccessful. Paul would later explain the situation in an April 22-23, 1970 interview with the London Evening Standard.

The album was finished a year ago, but a few months ago American record producer Phil Spector was called in by Lennon to tidy up some of the tracks. But a few weeks ago, I was sent a re-mixed version of my song "The Long and Winding Road" with harps, horns, an orchestra, and a women's choir added. No one had asked me what I thought. I couldn't believe it . . ..  To me it was just distasteful. 

When Paul sued in December 1970 to dissolve the group's legal partnership - a case he ultimately won - he even suggested that the overdub on "The Long and Winding Road" was an attempt to destroy his artistic reputation.

Why was "The Long and Winding Road" subjected to so much sumptuousness?  This is only a guess on my part.  Klein was believed to have thought that the song would make an appropriate farewell single in America, and it was ultimately released as such a week before the Let It Be album's American release.  Spector, perhaps aware of Klein's attentions to release the song as a 45 in the U.S., probably believed that a lush agreement was fitting for a song that, ultimately, would reflect the sadness of American fans over the Beatles' breakup.  As to why Spector chose in the first place to use a take that was admittedly flawed - John's bass playing on the take he chose was out of tune and somewhat sluggish - instead of using a take that required little or no embellishment, I have no answer to that question.

McCartney was released on April 17, 1970 along with a press release in the form of a "self-interview," in which Apple staffer and Beatles assistant Peter Brown (not to be confused with Peter Bown, the engineer who had helped Phil Spector assemble the Let It Be album) wrote out a series of questions and for which Paul supplied the answers.  The full interview is here.

Brown (above) would soon be fired from Apple in an ongoing purge by Klein.  Paul McCartney was quick to make clear to everyone that Klein did not represent him "in any way."  Eventually, Peter Brown would put out a tell-all book about the band, "The Love You Make," in 1983.  The three Beatles alive at the time never forgave him for that.

With McCartney in the record stores and the Beatles' breakup official, all that was left was to release Let It Be.

To be continued . . .

The Beatles - The Final Days

The last time all four Beatles were together at EMI Studios at Abbey Road was on August 20, 1969 to finish the Abbey Road album.  But, as we have already seen, there were in 1970 four more Beatles recording sessions with least one or three Beatles in attendance to tie up the loose ends of Let It Be.

On April 1, 1970, Phil Spector oversaw in Abbey Road's cavernous Studio One the very last recording session for a Beatles record before the breakup was made official, which involved overdubbing an orchestra on three of the Let It Be album's songs, all but one of them having actually not been recorded during the January 1969 sessions from which the album was conceived.  This fourth Beatles recording session of 1970 featured one Beatle - Ringo (below, in 1970), who played drums on all three songs along with the orchestra.

Again, the three songs in question were John Lennon's song "Across the Universe," George Harrison's "I Me Mine," and, the only song from the January 1969 tapes involved here,  Paul McCartney's "The Long and Winding Road."  The results were quite telling; the former two songs benefited from Spector's orchestral overdubs, while "The Long and Winding Road" suffered tragically.  The difference was likely due to the fact that the former two songs had been professionally recorded from the start, while "The Long and Winding Road" was recorded live in a makeshift studio and had deliberately been stripped down.  The take of "The Long and Winding Road" that was used, from January 26, 1969, wasn't the best take the Beatles had recorded - the definitive version was probably the one recorded five days after as seen in the Let It Be movie - but it was by no means in need of lavish overdubbing.  Listening to Spector's version of the earlier take and then listening the overdub-free version of that same take, issued in 1996 on Anthology 3, is like looking at a picture of a beautiful woman wearing elaborate makeup and then seeing a picture of the same woman with her plain face; you're more drawn to the natural beauty of the plain version.

Be that as it may, Spector certainly put his stamp on the three songs he overdubbed.  "Across the Universe" was the most successful example; he took the recording used for the remix that had appeared on the World Wildlife Fund charity album and slowed it down to make John's voice sound more natural, omitting the wildlife sound effects from the earlier remix and adding the orchestra and a choir of fourteen vocalists with great subtlety.  His work on "I Me Mine" was also impressive, extending the song's length by 51 seconds and giving the song a greater sense of urgency and drama with the orchestra and choir.  His overdub on "The Long and Winding Road," though, was pure Mantovani, the sort of "beautiful music" associated with doctors' offices and dinner with your grandparents.  Spector didn't arrange these songs himself - he gave that honor to Richard Hewson, who, ironically, arranged the McCartney-produced Mary Hopkin single "Those Were the Days" - but the sonic quality more than lived up to Phil's "wall of sound" technique.

This session presented numerous problems, most of which were Spector's doing.  While most producers map out the way a record will sound only when the basic tracks are recorded, Spector wanted to hear the final product as it was being recorded, which led to him making numerous demands; he failed to grasp that Abbey Road was not equipped for his unorthodox method.  Ringo, using his status as a Beatle, took him aside and calmed him down.  Spector's biggest mistake, however, was to try to pull a fast one by giving the musicians three musical parts when they were only booked for and paid for two.  The con job failed, and the musicians walked out.  Engineer Peter Bown went home, and Spector conceded.  The musicians got their extra payment, and Bown was called back to help finish the session.  Noting that the session happened to be on April Fool's Day, Bown would later say that Spector's deception was "one April Fool's joke which did not come off."

In all, Spector's overdub session cost £1,126 and 5/ - more than twice the cost of recording Please Please Me, the album Let It Be was intended to emulate.  In 2020 American money, that price for the overdubs comes to $21,638.86.

The next day, Spector and Bown remixed the newly overdubbed songs - the seventh and final session for assembling Let It Be - and Spector quickly informed the Beatles that the record was done and awaiting their approval.  John, George, and Ringo approved it.  Though Paul McCartney also approved the album in order to facilitate its scheduled May release, he was disgusted with Spector's work on one song in particular - no prizes for guessing which one - and by now he had had enough.

On April 9, 1970, after having spent the past seven months trying to keep the group together, Paul sent out a press release announcing his departure from the Beatles.

To be continued . . .

The Spector of the Beatles

"I've been Phil Spectored, resurrected." - Paul Simon

*

And so, on March 23, 1970 - coincidentally, at the start of Holy Week - Phil Spector began the thankless job of trying to make a Let It Be album for the Beatles out of the January 1969 Apple Studios tapes.  He worked in Room 4 at EMI Studios at Abbey Road, concentrating on remixing and editing the songs in an effort to make them sound as alive and as fresh as possible and make the record sound whole. 

He seemed to be the appropriate choice for the job. Spector was as much as an artist as the performers he produced records for, and maybe even more so.  He had pioneered the "wall of sound" technique - numerous overdubs of one instrument, tape echo, and heavy reverberation - and his approach to recording led John Lennon and George Harrison to call him a genius.  And this was from two musicians who had worked with a genius - George Martin.  But Spector was also known for his liberal use of orchestration - he envisioned his records as "little symphonies for the kids" - and those who bought records from his clients the Ronettes and the Righteous Brothers would certainly agree.  Let It Be, however, was not meant to be anything of the sort - it was meant to be, as Greil Marcus put it, an album meant to "recapture [a] fading sense of combined self," an album that got back to the essence of rock and roll.  Certainly Spector could make a record like that, as he'd already proved he could do so with "Instant Karma!".  Which approach would Spector take here - basic rock and roll or a grand production?  The answer would be both. 

With George Harrison present for most of the sessions, Spector worked with engineer Peter Bown, using an eight-track tape with seven tracks of music and an eighth track that was a "sync pulse" track for the cameras used to make the Let It Be documentary movie.  They spent the first day of work on mixing and editing, mixing two takes of "I've Got a Feeling," one from the studio and another from the Apple rooftop performance (the latter making it onto the Let It Be album), and editing out backing vocals from the rooftop performance of "Dig a Pony" while leaving the false start in.  It should have been apparent from the editing on the latter song that, while the Let It Be album would be sonically better than either of the two Get Back albums compiled by Glyn Johns, it wouldn't be consistent.  Live mistakes and studio banter would be juxtaposed by edits destroying the "live" concept.  But even bigger alterations were planned; on March 23, Spector also reworked "Across the Universe" and "I Me Mine" for overdubs, and it seemed that he had already decided on an orchestra for the two songs.

It's worth noting again that while "Across the Universe" and "I Me Mine" were not recorded during the January 1969 sessions, they were included on the Let It Be album only because the Beatles were shown rehearsing them in the Let It Be movie.   If these songs were rehearsed but not properly recorded when the movie was made, perhaps it would have made more sense to release these songs as a separate single accompanying the LP and film.  Spector, of course, would have even grander designs for an overdub of another song that was recorded during the January 1969 sessions.

The rest of the week was devoted to mixing the other songs intended for the record.  March 25 saw a remix of "For You Blue," as well as a remix of "Two Of Us" that brought a crisper sound to the song and is regarded by Beatles author Mark Lewisohn as Spector's best production effort on the Let It Be LP.   The following day, March 26, Spector worked to create entirely new remixes of "Let It Be" itself and "Get Back" that differed noticeably from the single release mixes, the former being extended by eleven seconds and getting a heavier George Harrison guitar solo, highly mixed brass and cellos that, ironically, had been scored by George Martin, and an emphasis on Ringo Starr's hi-hat.  (The former two elements were both overdubs recorded in the Beatles' January 4, 1970 session.)  It was also on this day that Spector began a remix of the third song slated for lavish overdubbing, "The Long and Winding Road" . . .

March 27 was devoted to editing the improvised "Dig It" down to an inexplicable length of fifty seconds.  An improvisation recorded earlier in the January 1969 sessions, known as "Can You Dig It?", had ended with John saying in a falsetto voice, "That was 'Can You Dig It?' by Georgie Wood, and now we'd like to do 'Hark, the Angels Come'."  Spector took this Goon Show-style banter and tacked it onto the end of his edit of "Dig It" to, somewhat cleverly, introduce "Let It Be," which Paul McCartney had conceived as a hymn.  (For the record, Georgie Wood was an old-time music-hall comedian in England.  As for "Hark, the Angels Come," that's the old-style title of the Christmas carol "Hark! The Herald Angels Sing," which the Beatles in fact never recorded.)

Finally, after the Easter holiday break, Spector returned to Abbey Road on Easter Monday, March 30 with two recording engineers (Peter Bown not being one of them) and a tape operator to work on the two George Harrison songs, producing a remix of "For You Blue" and concocting an ultimately unreleased sixteen-second loop of the instrumental break in I Me Mine" with sound from the movie overlaid onto it.

Throughout this entire time, Spector displayed the temperament of an artist, exhibiting all sorts of odd behavior.  Bown later remembered him taking a pill every half hour.  Also noteworthy was that Spector had his bodyguard with him, which Bown attributed to the danger of working in American recording studios (I touched on this on this blog back in 2002, when rap turntable operator Jason Mizell of Run-DMC was shot to death in a recording studio); the bodyguard was dismissed before the Let It Be remix sessions ended.  (The fact that Spector shot a woman to death in his own mansion in February 2003 and is now doing time in prison for it suggests that the bodyguard may have been there to protect others from Spector, or at least protect Spector from himself.)

Spector's work on the Let It Be album in the early spring of 1970 was not the only Beatles-related activity going on then at Abbey Road.  Paul McCartney was at the studio complex finishing up his debut solo album, unaware of Spector's presence.  In fact, by all accounts, he was unaware of Spector's project; John, George and Ringo had allowed Phil to go ahead on putting the Let It Be album together without Paul's knowledge, believing that the then-esteemed producer was the best person to make the best of what they felt was a bad situation.  And Paul would be anything but pleased when he heard the final master. Indeed, as March 1970 went out like a lamb, Spector's grandest production job on Let It Be was yet to come.

To be continued . . .    

Early to Middle 1970

And now, back to the story of the Beatles' breakup.

Paul McCartney, George Harrison and Ringo Starr - John Lennon wasn't around - spent the first weekend of 1970 working to complete the Let It Be album, at that point still to be called Get Back, holding their last two recording sessions together for 24 years.  On Monday, January 5, Glyn Johns, who had complied a Get Back album (above) in the spring of 1969 that the Beatles had rejected, had another go at it.  The second Get Back album would feature re-edits and remixes of the songs intended for the first Get Back album, and two new songs were added - the newly recorded "I Me Mine" from the Beatles' January 3, 1970 session and a remixed version of "Across the Universe," a song that had just been released a month earlier on comedian Spike Milligan's World Wildlife Fund charity album.  (Due to its preponderance of British recording artists unfamiliar to Americans, that album, No One's Gonna Change Our World - cleverly titled after a variation of the key lyric in "Across the Universe" - was not released in America, though it did include the Bee Gees and the Hollies, as well as Cliff Richard, who would not find success in America until the mid-seventies.)  Both songs were included because rough cuts of the documentary film on the making of the album showed the Beatles playing both songs during the rehearsals before the proper Get Back recording sessions commenced ("Across the Universe" had actually been recorded eleven months before the Get Back sessions). If the songs were to be featured in the movie, they had to be on the LP as well.

This second Get Back album, like the first one, would remain unreleased.  The Beatles couldn't decide whether or not they liked it, and John Lennon balked at the idea of Johns getting a producer's credit, even though he was more involved with the project than George Martin had been.  The album was put on ice once again, and George took advantage of the lull by re-recording his lead vocal on his song "For You Blue" on January 8.  (For those keeping track, this was the third Beatles recording session of 1970 and the first to involve only one Beatle.)  The practice of overdubbing and re-recording had been ruled out at the start of the Get Back project, but it was a necessity to complete the record, the tapes having been so poorly recorded.  Several overdubs, all for the song "Let It Be," had already been recorded up to that point.  But as far as John Lennon was concerned, he would have been happy to let the album go it as it was.

"We let Glyn Johns remix it, we didn't want to know," Lennon later said.  "We just left it to him and said, 'Here, do it.' It's the first time since the first album that we didn't have anything to do with it. None of us could be bothered going in. Everybody was probably thinking, 'Well, I'm not going to work on it.' Nobody could face looking at it . . . I thought it would be great to go out - the [crappy] version - because it would break the Beatles. It would break the myth: 'That's us, with no trousers on and no glossy paint over the cover and no sort of hope. This is what we are like with our trousers off, so would you please end the game now.'"

As of January 1970, the Beatles hadn't officially broken up, and there was an outside chance that they might return to the recording studio, but with John, Paul, and Ringo Starr all working on solo records in one form or another, the prognosis for the group's continuation into the seventies was anything but good.  John, for one, was eager to get his new song "Instant Karma!" out after writing it upon his return from a vacation in Denmark (which caused him to miss the January 3-4, 1970 Beatles sessions), and the Plastic Ono Band concept he'd created was the perfect vehicle for his song about the need to help one another and to get our acts together.  The fact that he wrote this song even as he was separating from Paul, George and Ringo was ironic.

In fact, John cut his new song on the day he wrote it.  He wrote "Instant Karma!" on the morning of January 27, 1970, booked the studio that afternoon, and had the record mixed and finished that night.  It was to be his third single with the Plastic Ono Band, the lineup of which was John, Yoko, and whoever happened to be in the room at the time - this time consisting of of Klaus Voorman on bass, Alan White on drums, George Harrison on guitar and piano, Billy Preston on organ and Beatles assistant Mal Evans on chimes and handclaps.  But there was a new face in the room.  Rather than get George Martin or himself to produce it, John ended up making the record with, at George Harrison's recommendation, the aid of American record producer Phil Spector, who had always wanted to work with the Beatles and hadn't had a hit in half a decade.  The session went so well that John and George thought that Spector might be the one who could make an album out of the Get Back/Let It Be tapes after Glyn Johns, in their view, had come up short.

Indeed, Spector's use of echo and reverberation, as well as the brightness he got out of Lennon's piano and the cold-fish smack of White's drums, was well-received, and the critics' favorable response reportedly got him the job to make what became Let It Be.  But what most likely sealed the deal for Spector was "Instant Karma!"'s chart performance - it reached number three on the Billboard singles chart in America, becoming the first solo Beatle single to go gold there, and it reached number five in Britain, its chart success in the U.K. no doubt helped by John's presentation of the song on the British pop show "Top Of the Pops" (as seen below).  Its happy-go-lucky melody and positive message certainly helped at a time when negativity was running high.  And its success likely convinced John further that he didn't need to believe in Beatles any more.

Meanwhile, "Let It Be," a McCartney power ballad about Paul's late mother, was mixed by George Martin and released as a single on March 6 in Britain and on March 11 in America.  (It was backed with - of all things - John's comedy track "You Know My Name [Look Up the Number].")  From all appearances, the group was still together, but by this point it was mostly a mirage.  Paul was diligently putting together his debut solo album in secret, playing all of the instruments himself. Ringo had spent the fall of 1969 recording tracks for his debut solo album Sentimental Journey, a collection of pre-rock pop standards that Ringo's mother loved to sing at the local pub with her friends, and he completed the record in March, releasing it at the end of the month in Britain and releasing it in America in late April. (As a rocker who put an album of standards, Ringo turned out to be ahead of his time.)  "Let It Be" inevitably reached number one in America and made it to number two in Britain.  (It was the Beatles' last single in their home country.)  Because "Get Back" had already been out for a year, it was thus decided that "Let It Be" should be the title song of the album and film.  Having gotten the job to bring the album to fruition, Phil Spector entered EMI Studios at Abbey Road on Monday, March 23, 1970 to begin the daunting task.

To be continued . . .