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Master (form of address)
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Master is an English honorific for boys and young men.
Contents
[hide]
1 Origin of the term
2 Current usage in UK
3 Current usage in USA
4 References
Origin of the term[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2016) (Learn how and when to remove this template message)
Master was used in England for men of some rank, especially "free masters" of a trade guild and by any manual worker or servant employee addressing his employer (his master), but also generally by those lower in status to gentlemen, priests, or scholars. In the Elizabethan period, it was used between equals, especially to a group ("My masters"), mainly by urban artisans and tradespeople. It was later extended to all respectable men and was the forerunner of Mister.
After its replacement in common speech by Mister, Master was retained as a form of address only for boys who have not yet entered society. By the late 19th century, etiquette dictated that men be addressed as Mister, and boys as Master.
Current usage in UK[edit]
The use of Master as a prefixed title was, according to Leslie Dunkling, "until recently ... a way of addressing politely a boy who was too young to be called 'Mister'."[1] It was used as a title for the eldest son only; younger sons had no form of address.
Master is used sometimes, especially up to circa late-19th century, especially in the UK to describe the male head of a large estate or household who employs domestic workers.
The heir to a Scottish lordship, barony or viscountcy is given the style or dignity[2] Master of followed by his father's title. For instance, the heir of Lord Elphinstone is known as the Master of Elphinstone.
Current usage in USA[edit]
Nancy Tuckerman of the Amy Vanderbilt Complete Book of Etiquette writes that in the USA, unlike the UK, a boy can be addressed as master only until age 12, then is addressed only by his name with no title until he turns 18, when he takes the title of Mr.,[3]:662 although it is not improper to use Mr. if he is slightly younger. Robert Hickey, deputy director of the Protocol School of Washington, states that "use of Master [as] an honorific when addressing boys is considered old fashioned outside of conservative circles."[4]
References[edit]
Jump up ^ Leslie Dunkling, Dictionary of Epithets and Terms of Address (2012).
Jump up ^ 2nd edition (1953) of Valentine Heywood's "British Titles" pp103–108
Jump up ^ Nancy Dunnan & Nancy Tuckerman, The Amy Vanderbilt Complete Book of Etiquette (50th Anniversary ed.) (1995).
Jump up ^ How to Address Children.
[hide]
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English social honorific titles
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Master
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Discovery (law)
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Civil rights cases concluded in U.S. district courts, by disposition, 1990-2006.[1]
Discovery, in the law of the United States and other countries, is a pre-trial procedure in a lawsuit in which each party, through the law of civil procedure, can obtain evidence from the other party or parties by means of discovery devices such as a request for answers to interrogatories, request for production of documents, request for admissions and depositions.[2] Discovery can be obtained from non-parties using subpoenas. When a discovery request is objected to, the requesting party may seek the assistance of the court by filing a motion to compel discovery.[3]
Contents
[hide]
1 United States
1.1 Federal law
1.1.1 District of Columbia
1.2 State law
1.2.1 Alaska
1.2.2 California
1.3 Criticism
2 Electronic discovery
3 In England and Wales
4 See also
5 References
6 External links
United States[edit]
See also: Civil discovery under United States federal law and Federal Rules of Civil Procedure
Under the law of the United States, civil discovery is wide-ranging and may seek disclosure of information that is reasonably calculated to lead to the discovery of admissible evidence.[4] This is a much broader standard than relevance, because it contemplates the exploration of evidence which might be relevant, rather than evidence which is truly relevant. (Issues of the scope of relevance are taken care of before trial in motions in limine and during trial with objections.)[5] Certain types of information are generally protected from discovery; these include information which is privileged and the work product of the opposing party. Other types of information may be protected, depending on the type of case and the status of the party. For instance, juvenile criminal records are generally not discoverable, peer review findings by hospitals in medical negligence cases are generally not discoverable and, depending on the case, other types of evidence may be non-discoverable for reasons of privacy, difficulty and/or expense in complying and for other reasons. (Criminal discovery rules may differ from those discussed here.) Electronic discovery or "e-discovery" refers to discovery of information stored in electronic format (often referred to as Electronically Stored Information, or ESI).[6]
In practice, most civil cases in the United States are settled after discovery.[7] After discovery, both sides often are in agreement about the relative strength and weaknesses of each side's case and this often results in either a settlement or summary judgment, which eliminates the expense and risks of a trial.
Discovery is also available in criminal cases.[8] Under the rule set forth in Brady v. Maryland, the prosecutor is obligated to provide to the defendant any information that is exculpatory or potentially exculpatory, without any request by the defense. Further discovery is available if initiated by the defendant. For example, a discovery demand might be for production of the names of witnesses, witness statements, information about evidence, a request for opportunity to inspect tangible evidence, and for any reports prepared by expert witnesses who will testify at trial.[9]
If a defendant in a criminal case requests discovery from the prosecution, the prosecutor may request reciprocal discovery.[10] The prosecutor's right to discovery is deemed reciprocal as it arises from the defendant's request for discovery. The prosecutor's ability to obtain discovery is limited by the defendant's Fifth Amendment rights, specifically the defendant's constitutional protection against self-incrimination.
Federal law[edit]
Main article: Civil discovery under United States federal law
Discovery in the United States is unique compared to other common law countries. In the United States, discovery is mostly performed by the litigating parties themselves, with relatively minimal judicial oversight. The Federal Rules of Civil Procedure guide discovery in the U.S. federal court system. Most state courts follow a similar version based upon the FRCP, Chapter V "Depositions & Discovery" [1].
According to the Federal Rules of Civil Procedure, the plaintiff must initiate a conference between the parties after the complaint was served to the defendants, to plan for the discovery process.[11] The parties should attempt to agree on the proposed discovery schedule, and submit a proposed Discovery Plan to the court within 14 days after the conference.[11] After that, the main discovery process begins which includes: initial disclosures, depositions, interrogatories, request for admissions (RFA) and request for production of documents (RFP). In most federal district courts, the formal requests for interrogatories, request for admissions and request for production are exchanged between the parties and not filed with the court. Parties, however, can file motion to compel discovery if responses are not received within the FRCP time limit. Parties can file a motion for a protective order if the discovery requests become unduly burdensome or for purpose of harassment.
In federal criminal prosecutions, discovery rights originate from a number of important Supreme Court decisions and statutes, the most important of which are,
Brady v. Maryland, 373 U.S. 83 (1963), pursuant to which a prosecuting attorney is required to disclose to a defendant any material which is potentially exculpatory or that would impeach the credibility of a prosecution witness. Brady also applies to evidence that would mitigate the defendant's sentence if a defendant is convicted.
Jencks v. United States, 353 U.S. 657 (1957), and the Jencks Act,[12] subsequently passed by Congress, pursuant to which federal prosecutors are required to produce any witness statement in the government's possession that relates to the subject of the witness' testimony, if that witness will testify against the defendant.
Giglio v. United States, 405 U.S. 150 (1972) and the resulting Giglio rule, pursuant to which any deal with a witness that might call the witness's credibility into question must be disclosed in court. As a consequence, any plea bargain or deal made by the prosecutor with a witness in exchange for testimony should be disclosed to the defense as part of the discovery process.
The formal discovery process for federal criminal prosecutions is outlined in the Federal Rules of Criminal Procedure, Rule 16.[9]
District of Columbia[edit]
The District of Columbia follows the federal rules, with a few exceptions. Some deadlines are different, and litigants may only resort to the D.C. Superior Court. Forty interrogatories, including parts and sub-parts, may be propounded by one party on any other party. There is no requirement for a "privilege log": federal Rule 26(b)(5) was not adopted by the D.C. Superior Court. Where above is stated "litigants may only resort to the D.C. Superior Court" upon correction is found according to the District of Columbia Superior Court Rules of Civil Procedure Section 73(b)Judicial Review and Appeal which states: "Judicial review of a final order or judgment entered upon direction of a hearing commissioner is available on motion of a party to the Superior Court judge designated by the Chief Judge to conduct such reviews...After that review has been completed, appeal may be taken to the District of Columbia Court of Appeals." This rule basically implies that in a civil action, if a hearing commissioner is authorized by all parties to conduct the proceedings instead of a judge, upon a request for a review or appeal, the motion must first be reviewed by a Superior Court judge to the same standard as a motion for appeal on a Superior Court Judge to the Court of Appeals, but the right to appeal to the higher courts still remains.
State law[edit]
Many states have adopted discovery procedures based on the federal system; some closely adhere to the federal model, others not so closely. Some states take an entirely different approach to discovery. Many states have adopted the Uniform Interstate Depositions and Discovery Act to provide uniform process when discovery is to be done out of state.
Alaska[edit]
In Alaska criminal courts, discovery is governed by Rule of Criminal Procedure 16 (Cr.R.16). The scope of discovery is broad and includes much more than is required by Brady v. Maryland, 373 U.S. 83 (1963). The discovery process is intended to provide adequate information for informed pleas, to expedite trial, minimize surprise, afford an opportunity for effective cross-examination, and meet the requirements of due process. To the extent possible, discovery prior to trial should be as full and free as possible, consistent with protection of persons, effective law enforcement, and the adversarial system.
A prosecuting attorney is required to disclose to the accused the following material, and to make it available for inspection and copying: (i) names and addresses of witnesses, (ii) written or recorded statements of the accused, (iii) written or recorded statements of a co-defendant, (iv) any books, papers, documents, photographs or tangible objects with the prosecutor intends to use at trial, (v) any prior criminal convictions of the defendant or any witness. In practice, this means that criminal defendants in Alaska are able to review any police report, lab report, audio/video recordings, witness statements, and more, before they proceed to trial. Most defendants will also have this material far enough in advance to have reviewed it before making a decision about any possible plea deal.
California[edit]
In California state courts, discovery is governed by the Civil Discovery Act of 1986 (Title 4 (Sections 2016-2036) of the Code of Civil Procedure), as subsequently amended.[13] A significant number of appellate court decisions have interpreted and construed the provisions of the Act.
California written discovery generally consists of four methods: Request for Production of Documents, Form Interrogatories, Special Interrogatories, and Requests for Admissions.[14] Responses to California discovery requests are not continuing: the responding party only needs to respond with the facts as known on the date of the response, and is under no obligation to update its responses as new facts become known.[15] This causes many parties to reserve one or two interrogatories until the closing days of discovery, when they ask if any of the previous responses to discovery have changed, and then ask what the changes are. California depositions are not limited to one day, and objections must be made in detail or they are permanently waived. A party may only propound thirty-five written special interrogatories on any other single party unless the propounding party submits a "declaration of necessity".[16] No "subparts, or a compound, conjunctive, or disjunctive question" may be included in an interrogatory.[17] However, "form interrogatories" which have been approved by the state Judicial Council[18] do not count toward this limit. In addition, no "preface or instruction" may be included in the interrogatories unless it has been approved by the Judicial Council; in practice, this means that the only instructions permissible with interrogatories are the ones provided with the form interrogatories.
Criticism[edit]
The use of discovery has been criticized as favoring the wealthier side in a lawsuit, in that may enable parties to drain each other's financial resources in a war of attrition. For example, one can make information requests that are potentially expensive and time-consuming for the other side to fulfill; respond to a discovery request with thousands of documents of questionable relevance to the case;[19] file requests for protective orders to prevent the deposition of key witnesses; and take other measures that increase the difficulty and cost of discovery.
It has been argued that although the goal of discovery is to level the playing field between the parties, the discovery rules instead create a multi-level field that favors the party that is in control of the information needed by the other party.[20] Instead of encouraging discovery, the rules are described as encouraging lawyers to find new ways to manipulate and distort or conceal information.[20]
Some tort reform supporters make a similar accusation, that discovery is used by plaintiffs' lawyers to impose costs on defendants in order to force settlements in unmeritorious cases to avoid the cost of discovery.[21] However, others argue that discovery abuse is an exaggerated concept, that discovery works well in most cases, and exaggeration of American litigiousness and its cost result in confusion within the justice system.[22]
Electronic discovery[edit]
Main article: Electronic discovery
Electronic discovery, also known as ediscovery, involves the discovery of electronic data and records. It is important that data obtained through ediscovery to be reliable, and therefore admissible.[23]
Currently the two main approaches for identifying responsive material on custodian machines are:
(1) where physical access to the organisations network is possible - agents are installed on each custodian machine which push large amounts of data for indexing across the network to one or more servers that have to be attached to the network or
(2) for instances where it is impossible or impractical to attend the physical location of the custodian system - storage devices are attached to custodian machines (or company servers) and then each collection instance is manually deployed.
In relation to the first approach there are several issues:
In a typical collection process large volumes of data are transmitted across the network for indexing and this impacts normal business operations
The indexing process is not 100% reliable in finding responsive material
IT administrators are generally unhappy with the installation of agents on custodian machines
The number of concurrent custodian machines that can be processed is severely limited due to the network bandwidth required
New technology is able to address problems created by the first approach by running an application entirely in memory on each custodian machine and only pushing responsive data across the network. This process has been patented[24] and embodied in a tool that has been the subject of a conference paper.[25]
In relation to the second approach, despite self-collection being a hot topic in eDiscovery[26], concerns are being addressed by limiting the involvement of the custodian to simply plugging in a device and running an application to create an encrypted container of responsive documents [1]
In England and Wales[edit]
This section needs expansion. You can help by adding to it. (August 2010)
The discovery process in the jurisdiction of England and Wales has been known as "disclosure" since the reforms to civil procedure introduced by Lord Justice Woolf in 1999.
Disclosure is for many types of cause of action (but not for example Personal Injury which has its own additional Parts of procedure rules to follow) governed by Part 31 of the Civil Procedure Rules (CPR), and its linked Practice Direction (PD) 31B. As in the United States, certain documents are privileged, such as letters between solicitors and experts. Full details are given in legal professional privilege (England & Wales).
The usual forms of discovery are general discovery and specific discovery since parties in issue are unlikely to reach agreements as to what ought to be disclosed. This reflects in the current discovery rules which put emphasis on compliance of time limit, rules on service, proper list of documents and rules on privileges set out in Part 31 of CPR and PD 31B. Once a party properly conducts general discovery process in accordance with discovery rules and procedures, documents are deem discoverable, i.e. documents are available for inspection. Inspectionability refers to procedural and legal elements: the former concerns clerical production of document; the latter concerns the relevance test (Peruvian Guano v Financiaso Compagneiage (1881) 10 EWR 125) and linkage test.
See also[edit]
Early case assessment
Second request
subpoena ad testificandum
subpoena duces tecum
References[edit]
Jump up ^ Kyckelhahn, Tracey; Cohen, Thomas H. (August 2008). "Civil Rights Complaints in U.S. District Courts, 1990-2006" (PDF). U.S. Department of Justice. Retrieved 30 September 2017.
Jump up ^ Larson, Aaron (18 August 2016). "Conducting Discovery in a Civil Lawsuit". ExpertLaw. Retrieved 30 September 2017.
Jump up ^ Schwarzner, William W. (1988). "The Federal Rules, the Adversary Process, and Discovery Reform". University of Pittsburgh Law Review. 50: 703. Retrieved 30 September 2017.
Jump up ^ Hawkins, Kenneth B. (December 1953). "Discovery and Rule 34: What's So Wrong About Surprise?". American Bar Association Journal. 39 (12): 1075–1079. Retrieved 30 September 2017.
Jump up ^ Warner, Charles C. (1998). "Motions in Limine in Employment Discrimination Litigation". University of Memphis Law Review. 29: 823. Retrieved 30 September 2017.
Jump up ^ Kelly, Robert L. (September 2007). "The Tech Side of E-Discovery". Business Law Today. 17 (1). Retrieved 30 September 2017.
Jump up ^ Kyckelhahn, Tracey; Cohen, Thomas H. (August 2008). "Civil Rights Complaints in U.S. District Courts, 1990-2006" (PDF). Bureau of Justice Statistics. U.S. Department of Justice. Retrieved 30 September 2017.
Jump up ^ Larson, Aaron (2 September 2016). "What Happens After Criminal Charges Are Filed". ExpertLaw. Retrieved 30 September 2017.
^ Jump up to: a b See, e.g., "Federal Rules of Criminal Procedure, Rule 16. Discovery and Inspection". Legal Information Institute. Cornell Law School. Retrieved 30 September 2017.
Jump up ^ Kane, Robert F. (1972). "Criminal Discovery - The Circuitous Road to a Two-Way Street". University of San Francisco Law Journal. 7: 203. Retrieved 30 September 2017.
^ Jump up to: a b "Federal Rules of Civil Procedure, Rule 26. Duty to Disclose; General Provisions Governing Discovery". Legal Information Institute. Cornell Law School. Retrieved 30 September 2017.
Jump up ^ "18 U.S. Code § 3500 - Demands for production of statements and reports of witnesses". Legal Information Institute. Cornell Law School. Retrieved 30 September 2017.
Jump up ^ "Civil Discovery Act". California Legislative Information. California State Legislature. Retrieved 30 September 2017.
Jump up ^ Cal. Code Civ. Proc., § 2019.010
Jump up ^ Singer v. Sup. Ct., 54 Cal.2d 318, 325 (1960).
Jump up ^ "California Code of Civil Procedure, Sec. 2030.030. Propounding Interrogatories". California Legislatie Information. California State Legislature. Retrieved 30 September 2017.
Jump up ^ Cal. Code Civ. Proc., § 2030.060
Jump up ^ See e.g., "Form Interrogatories - General" (PDF). California Courts. Retrieved 30 September 2017.
Jump up ^ Lord, Miles W. (1986). "Discovery Abuse: Appointing Special Masters". Hamline Law Review. 9: 63. Retrieved 30 September 2017.
^ Jump up to: a b Cameron Stracher, Double Billing: A Young Lawyer's Tale of Greed, Sex, Lies, and the Pursuit of a Swivel Chair (New York: William Morrow, 1998), 125–126.
Jump up ^ Ramseyer, J. Mark (2015). Second-Best Justice: The Virtues of Japanese Private Law. Chicago, IL: University of Chicago Press. ISBN 978-0-226-28199-5. Faced with grinding discovery demands that distract employees from operating the business, even blameless defendants settle.
Jump up ^ Mullenix, Linda S. (July 1994). "Discovery in Disarray: The Pervasive Myth of Pervasive Discovery Abuse and the Consequences for Unfounded Rulemaking". Stanford Law Review. 46 (6): 1393–1445. Retrieved 30 September 2017.
Jump up ^ Steel, C (2006). Windows forensics: The field guide for conducting corporate computer investigations. Indianapolis, IN: Wiley Publishing.
Jump up ^ "Method and system for searching for, and collecting, electronically-stored information". Elliot Spencer, Samuel J. Baker, Erik Andersen, Perlustro LP. 2009-11-25.
Jump up ^ Richard, Adams,; Graham, Mann,; Valerie, Hobbs, (2017). "ISEEK, a tool for high speed, concurrent, distributed forensic data acquisition". Research Online. doi:10.4225/75/5a838d3b1d27f.
Jump up ^ "Self-Collection In E-Discovery — Risks Vs. Rewards - Law360". www.law360.com. Retrieved 2018-03-10.
External links[edit]
Federal Rules of Civil Procedure: Depositions and Discovery
Retrieved from "https://en.wikipedia.org/w/index.php?title=Discovery_(law)&oldid=837995976"
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Let It Be
From Wikipedia, the free encyclopedia
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This article is about the Beatles album. For the album's title track, see Let It Be (song). For the film about the making of the album, see Let It Be (1970 film). For other uses, see Let It Be (disambiguation).
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Let It Be
Studio album by the Beatles
Released
8 May 1970 (1970-05-08)
Recorded
February 1968
January–February 1969
January; March–April 1970
Studio
Abbey Road Studios, London
Apple Studio, London
Twickenham Film Studios, London
Genre
Rock[1]
blues[2]
R&B[2]
Length
35:10
Label
Apple
Producer
Phil Spector
The Beatles chronology
Abbey Road
(1969) Abbey Road1969 Let It Be
(1970) Let It Be1970 From Then to You
(1970) From Then to You1970
The Beatles North American chronology
Hey Jude
(1970) Hey Jude1970 Let It Be
(1970) Let It Be1970 The Beatles' Christmas Album
(1970) The Beatles' Christmas Album1970
Singles from Let It Be
"Let It Be"
Released: 6 March 1970
"The Long and Winding Road" / "For You Blue"
Released: 11 May 1970
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 break-up. Like most of the band's previous releases, it was a number one album in many countries, including both the US and the UK, and was released in tandem with the motion picture of the same name.
The album was conceived as Get Back, a return to the Beatles' earlier, less complicated approach to music. It was recorded and projected for release before their album Abbey Road (1969); for this reason, some critics and fans, such as Mark Lewisohn, argue that Abbey Road should be considered the group's final album and Let It Be the penultimate. Rehearsals began at Twickenham Film Studios in January 1969 as part of a planned documentary showing the Beatles preparing to return to live performance. A project instigated by Paul McCartney, 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 Beatles reconvened at their own Apple Studio, where they completed the recordings with the help of guest musician Billy Preston.
Following several rejected mixes by Glyn Johns, a new version of the album was produced by Phil Spector in March–April 1970. While three songs from the sessions were released as singles before the album's release, "Get Back"/"Don't Let Me Down" and "Let It Be", the songs were remixed by Spector for the album and "Don't Let Me Down" was not included. Let It Be... Naked was released in 2003, an alternative version of the album, without any of Spector's production work and using some different takes of songs.
Contents
[hide]
1 Background
2 Recording and production
2.1 Twickenham rehearsals
2.2 Continued sessions
2.3 Get Back albums
2.4 Final mixing
3 Critical reception
4 Release history
4.1 Original release
4.2 Let It Be... Naked
5 Track listing
6 Personnel
7 Covers
8 Charts and certifications
9 References
10 External links
Background[edit]
By late 1968, more than two years after the Beatles gave up touring, Paul McCartney was eager for the group to perform live again. The sessions for that year's The Beatles (commonly known as the "White Album") had seen a number of serious arguments and strained relations among the group.[3] McCartney felt that the band's cohesiveness had been lost through years without playing live, and from using the studio not to record ensemble performances, but to make increasingly complex recordings made up of parts played individually by each Beatle as overdubs rather than as a group. He believed that the best way to improve band relations and revive enthusiasm was to get the group back into rehearsal as quickly as possible (the White Album sessions having concluded in October 1968) and begin work on a new album that made little or no use of studio artifice or multiple overdubbing. This would allow the group to return to their roots by playing as a true ensemble, recording some or all of the new album during a one-off live concert or full concert tour. This idea mirrored the "back to basics" attitude of a number of rock musicians at this time in reaction against the psychedelic and progressive music dominant in the previous two years. The concert itself would be filmed for broadcast on worldwide television, with the album released to coincide with it.
McCartney also decided to invite producer/engineer Glyn Johns to contribute to the recording. His proposed role was apparently not clearly defined, as McCartney also wished to retain the services of George Martin. As a result, Johns was not entirely sure whether he was supposed to be producing (or co-producing) the album or merely engineering it, with Martin having no clear idea of where he stood either. As it turned out, Johns acted as engineer, while the band used Martin for advice and ideas as they worked.
The other three Beatles were less enthusiastic about McCartney's proposals. They had just completed five months' work on their previous album and were sceptical about the prospects of returning to live performance. George Harrison in particular was opposed to the idea of touring, having taken the strongest dislike of any in the group to the gruelling tours of the Beatlemania era.[4] However, he had recently enjoyed a series of jam sessions with Bob Dylan and the Band in America, rediscovering his liking for straightforward ensemble playing, and was attracted to the idea of the "back to basics" approach. The same approach greatly appealed to John Lennon, who had grown increasingly wary of what he regarded as the excessive technical artifice used on their recordings since Revolver and had also made a recent return to no-frills ensemble playing with an appearance on The Rolling Stones Rock and Roll Circus. In addition, all the group members had greatly enjoyed the recording of Lennon's White Album track "Happiness is a Warm Gun", which, due to its multiple sections and time signature changes, had required the Beatles to focus sharply and revive their ensemble playing skills to lay down a coherent basic rhythm track. In the end, the group agreed to convene for rehearsals immediately following 1 January 1969, even though no firm direction for the new project had been agreed on.
Recording and production[edit]
The rehearsals and recording sessions for the album did not run smoothly. The acrimony that began during the recording of the White Album resumed soon after the rehearsals began. The Beatles were not getting along, and Lennon and McCartney weren't working together as before. McCartney assumed the role of the leader, while a detached Lennon was more interested in spending time and making music with his soon-to-be wife Yoko Ono, who was present in the studio with him at all times. All of these factors led to friction within the band. At one point, Harrison walked out and quit the group after several arguments with McCartney and a falling out with Lennon, due to the former's perfectionism and the latter's disengagement. Harrison was eventually coaxed back a few days later. The film version is famous for showcasing a number of conflicts between the group members and has frequently been referred to as a documentary that was intended to show the making of an album but instead shows "the break-up of a band".[5][verification needed]
Twickenham rehearsals[edit]
Since all the rehearsals were to be filmed by Michael Lindsay-Hogg and his film crew, the decision was made to use a film studio for rehearsals and the sound stage at Twickenham Studios was chosen. The group began rehearsals there on 2 January 1969. Sound recordings were made on Nagra mono recorders solely for the purpose of the film sound track; no professional multi-track recordings were made of these sessions as the Beatles were simply rehearsing for a proposed live performance. Phil Spector later used a snippet of dialogue from one of these rehearsals (Lennon announcing "Queen says no to pot-smoking FBI members") to introduce "For You Blue" on the finished album. Numerous bootleg records taken from the many hours of these soundtrack recordings are in wide circulation, and various bits of music and dialogue from the same source were eventually used on the second disc of the 2003 release Let It Be... Naked.
The rehearsals quickly disintegrated into what one biographer characterised as a "hostile lethargy".[6] On the first day, both Lennon and Harrison complained about the venue they were using to rehearse in. Although the very first song to be worked on, "I've Got a Feeling", had been semi co-written by Lennon and McCartney in the days leading up to the start, Lennon quickly ran out of ideas himself, and showed little interest in the songs McCartney and in particular Harrison were offering. Unable to generate much enthusiasm or focus their attention, the Beatles' playing was largely ragged and unprofessional, not helped by the fact that they were severely out of practice at playing as a live ensemble. McCartney tried to organise and encourage his bandmates, but his attempts to hold the band together and rally spirits were seen by the others as controlling and patronising. Matters came to a head on 6 January, when Harrison had a heated argument with McCartney during a rehearsal of "Two of Us", which later became one of the most famous sequences in the Let It Be film. What is not shown in the film is another, allegedly much more severe argument that Harrison had with Lennon on 10 January. Harrison had become fed up with Lennon's creative and communicative disengagement from the band and the two had a heated row during the day's lunch break. According to journalist Michael Housego of The Daily Sketch, this descended into violence with Harrison and Lennon allegedly throwing punches at each other. Harrison denied this in a 16 January interview for the Daily Express, saying: "There was no punch-up. We just fell out." After lunch, Harrison announced that he was "leaving the band now" and told the others "see you round the clubs".[7] He promptly drove to his Esher home, Kinfauns, where he documented his frustrations with the group in a new composition, "Wah-Wah".
Continued sessions[edit]
American R&B pianist Billy Preston (pictured here in 1971) was asked to perform with the group to ease tension amongst the band members
A week later the band agreed to Harrison's terms for returning to the group, which included abandoning the cold and cavernous soundstage at Twickenham. Sessions resumed on 22 January when the Beatles moved to Apple Studio, in the basement of their Apple Corps building at 3 Savile Row, central London. Multi-track recording began on that date[8] and continued until 31 January.[9] Harrison brought in keyboardist Billy Preston to ease tensions and supplement the band's sound. Preston worked with the group throughout their stay at Apple.
As another condition of his rejoining the Beatles, Harrison had the others agree to drop the plan of making a return to public performance. From now on, the filming would simply capture the band making a new album. The band subsequently revisited the idea of playing a concert merely to provide a suitable ending for Lindsay-Hogg's film. On 30 January, the Beatles and Preston performed on the rooftop of the Apple building before a small audience of friends and employees. Only Harrison was against this, calling it "silly", but went along with it for the sake of the film. The performance was cut short by the police after complaints about noise. The complete concert has circulated among bootleg collectors for many years. Three numbers recorded at the rooftop concert – "Dig a Pony", "I've Got a Feeling" and "One After 909" – were subsequently issued on the Let It Be album, while several portions of dialogue from the performance appear between tracks that were taped in the studio. The final rooftop number was that day's third performance of "Get Back" and featured McCartney's ad-lib about getting arrested for playing on rooftops. This version was released on Anthology 3.
The band played hundreds of songs during the Get Back/Let It Be sessions. Aside from original songs ultimately released on Let It Be, there were early versions of many tracks that appeared on Abbey Road, including "Mean Mr. Mustard", "She Came in Through the Bathroom Window", "Sun King", "Polythene Pam", "Golden Slumbers", "Carry That Weight", "Something", "Maxwell's Silver Hammer", "Oh! Darling", "Octopus's Garden" and "I Want You (She's So Heavy)". Other original compositions would eventually end up on Beatle solo albums, including Lennon's "Jealous Guy" (called "Child of Nature" at the time and originally written and rehearsed for the White Album) and "Gimme Some Truth"; Harrison's "All Things Must Pass", "Isn't It a Pity" (a song he initially put forward for Revolver in 1966), "Let It Down" and "Hear Me Lord"; and McCartney's "Another Day", "Teddy Boy", "Junk" (another track from the White Album era) and "The Back Seat of My Car". Throughout the rehearsals and recording sessions, much of the band's attention was focused on a broad range of covers, extended jams on 12-bar blues, and occasional new efforts such as Lennon's uncompleted "Madman". These covers included classical pieces such as Samuel Barber's "Adagio for Strings", jazz standards such as "Ain't She Sweet", and an array of songs from the early rock and roll era such as "Stand By Me", "Words of Love", "Lonely Sea", "Bésame Mucho" by Mexican composer Consuelo Velázquez (a song that was part of the Beatles' repertoire at the start of their career) and "Blue Suede Shoes". Several Bob Dylan songs were also played, including "Positively 4th Street", "All Along the Watchtower" and "I Shall Be Released".[10] Only a handful of these cover versions were complete performances; the vast majority were fragmentary renditions with at most a verse or two of misremembered lyrics.
Two songs appearing on the album were not recorded during the January 1969 sessions. "Across the Universe" had been recorded at Abbey Road Studios in February 1968, and "I Me Mine" was not recorded until January 1970, after Lennon's unannounced departure from the group. Lewisohn recognises "I Me Mine" as the final song to be recorded by the Beatles before their official dissolution. Overdubbing of vocals and instrumentation for other tracks continued into April 1970, just before the album's release.
Get Back albums[edit]
Cover of the aborted Get Back album. Mirroring the cover of the band's first album, Please Please Me, was John Lennon's idea.
After increasing use of overdubs and multi-layered recordings on recent albums, there was at first a consensus to record the new album live. In keeping with the back-to-roots concept, the cover artwork was planned to be an update of the cover of their first album, Please Please Me, with the band looking down the same stairwell of EMI's headquarters office block in Manchester Square, London, and in the same poses, as in the earlier cover photo. The photograph was later used instead for the cover of the compilation album 1967–1970 (the "Blue Album").
Days after the sessions at Apple had ended, Glyn Johns put together a rough mix acetate of several songs, for the band to listen to. A tape copy of this acetate made its way to America, where it was played on radio stations in Buffalo, New York and Boston over September 1969. In March 1969, Lennon and McCartney had called Johns to Abbey Road and offered him free rein to officially compile an album from the Get Back recordings.[11] 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 "Let It Be" over the more polished performances from the final, 31 January session (which were eventually chosen for the Let It Be album). 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 five-minute version of "Dig It".[12] Despite the idea, the band could not agree whether they liked the finished product, especially as Johns had used takes of songs with mistakes kept in ("I've Got A Feeling" was only half complete, with the song breaking down due to an error by Lennon).
Get Back version one, May 1969:[12]
[show]Side one
No.
Title
Length
1. "The One After 909"
2. "Rocker (Improvisation)"
3. "Save the Last Dance for Me"
4. "Don't Let Me Down"
5. "Dig a Pony"
6. "I've Got a Feeling"
7. "Get Back"
[show]Side two
No.
Title
Length
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)"
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. By December, Get Back 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. Glyn Johns' 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 Ringo Starr performed. "I Me Mine" was newly recorded on 3 January 1970, as it appeared in the film and no multi-track recording had yet been made. The Beatles once again rejected the album.[13]
Get Back version two, January 1970:[13]
[show]Side one
No.
Title
Length
1. "The One After 909" 3:03
2. "Rocker" 0:34
3. "Save the Last Dance for Me" 0:20
4. "Don't Let Me Down" 4:40
5. "Dig a Pony" 4:04
6. "I've Got a Feeling" 2:45
7. "Get Back" 3:14
8. "Let It Be" 4:02
[show]Side two
No.
Title
Length
1. "For You Blue" 2:45
2. "Two of Us" 3:26
3. "Maggie Mae" 0:37
4. "Dig It" 4:06
5. "The Long and Winding Road" 3:39
6. "I Me Mine" 1:45
7. "Across the Universe" 3:27
8. "Get Back (reprise)" 0:38
Final mixing[edit]
"Let It Be"
The Beatles' "Let It Be" from Let It Be
Problems playing this file? See media help.
In March 1970, American producer Phil Spector was brought in by business manager Allen Klein to work on the album. Spector remixed all of the tracks, adding orchestra and choir to three tracks, and compiled the eventually released album – by now entitled Let It Be. The album and the film of the same name were released on 8 May 1970; the Beatles had already broken up by that time. The film captured the critical tensions within the band, and also included footage from the rooftop concert. The rooftop performance closed with the song "Get Back", and afterwards Lennon said, "I'd like to say 'thank you' on behalf of the group and ourselves, and I hope we passed the audition." The joke was added to the studio version of the song that appeared on the album.
Several songs from the recording sessions have been released officially in versions different from those on the Let It Be album. "Get Back"/"Don't Let Me Down" and "Let It Be" were released as singles in 1969 and 1970, respectively.[14] Seven tracks were live performances, in accordance with the original album concept: "I've Got a Feeling", "One After 909" and "Dig a Pony" from the rooftop performance, and "Two of Us", "Dig It", "Get Back" and "Maggie Mae" (not to be confused with the Rod Stewart song of the same name) from studio sessions. Contrary to the original concept, the album versions of "For You Blue", "I Me Mine", "Let It Be" and "The Long and Winding Road" feature editing, splicing and/or overdubs. "Don't Let Me Down", also recorded live and previously released as the B-side of "Get Back", was not included on the album.[15] The third track on the album is an edited version of the original 1968 recording of "Across the Universe", slowed down from D-natural to D-flat, which had only been rehearsed at Twickenham and not professionally recorded on multi-track tape during the January 1969 sessions.[16]
McCartney was deeply 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. McCartney unsuccessfully attempted to halt release of Spector's version or at least have it altered. Despite the criticisms levelled at Spector over the years for his handling of the material, Lennon defended him in his December 1970 Rolling Stone interview, saying, "He was given the shittiest load of badly-recorded shit with a lousy feeling to it ever, and he made something of it." When EMI informed Martin that he would not get a production credit because Spector produced the final version, he commented "I produced the original, and what you should do is have a credit saying 'Produced by George Martin, over-produced by Phil Spector'".[17]
Critical reception[edit]
Professional ratings
Review scores
Source
Rating
AllMusic [18]
Billboard [19]
Robert Christgau A–[20]
Consequence of Sound C+[21]
The Daily Telegraph [22]
Encyclopedia of Popular Music [23]
MusicHound 1/5[24]
Pitchfork Media 9.1/10[25]
The Rolling Stone Album Guide [26]
Sputnikmusic 4/5[27]
Let It Be topped albums charts in both America 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".[28] 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."[29] 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".[30] 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."[31]
However, 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 "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".[32] 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."[33] 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."[33]
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', with John and Paul harmonising together".[34] Despite a mixed review from Rolling Stone at the time of its release, the album was ranked number 86 in the magazine's list of the 500 greatest albums of all time in 2003[35] but was moved down to number 392 in the 2012 version.[36]
Release history[edit]
Original release[edit]
The original box set packaging of Let It Be. It contained a 160-page booklet with photos and quotes from the film.
In the UK and Canada, the album was originally issued by Apple (and distributed by EMI) in a lavish box that also included a book featuring stills from the Let It Be film. Several months later, the album was reissued in a standard LP jacket (the same one that was included in the box set), sans book. In the United States, the Let It Be album was issued in a gatefold cover, without the book.
Original American copies of Let It Be bore the Apple Records label, but because United Artists distributed the film, United Artists Records held the rights to distribute LP copies of the album in America. (EMI subsidiary Capitol, which held the Beatles' US contract, had simultaneous rights to the music on the album, allowing them to distribute pre-recorded tape versions of the album, as well as to release its songs on singles and compilation albums. Capitol, however, did not have the rights to release or distribute the album in LP format.) To indicate that Let It Be was not distributed by Capitol, the Apple logo and record label in America sported a red apple, rather than the Beatles' usual green Granny Smith apple.
In early 1976, when the Beatles' EMI contract expired, the group's catalogue in the US transferred from Apple to Capitol; Let It Be, however, went out-of-print in America for three years.[37] In 1979, Capitol/EMI acquired United Artists Records; with this acquisition, Capitol acquired the rights to two Beatles albums previously distributed in the US by United Artists, Let It Be and the soundtrack album A Hard Day's Night (as A Hard Day's Night had never been issued by Apple in the US, it remained in print in America under the United Artists label when the Apple contract expired in 1976). Shortly after acquiring United Artists Records, Capitol re-issued both UA distributed Beatles albums on the Capitol label.
The album was first released on CD on 19 October 1987. Along with the other Beatles albums, EMI released a re-mastered CD on 9 September 2009 and an electronic version (24-bit FLAC and MP3 formats on a USB drive) on 4 December 2009.
The Beatles won the Academy Award for the Best Original Song Score in 1970 for the songs in the film.[38]
Let It Be... Naked[edit]
Main article: Let It Be... Naked
At the same time the film's re-release was announced, McCartney announced plans to release a new version of the album that is closer to what he had originally intended for the project. The new collection, Let It Be... Naked, was released on 17 November 2003, in a two-disc format—the second disc contained fly-on-the-wall recordings of the band chit-chatting during the Get Back sessions. The songs were re-mixed from the original multitrack recordings. The recording did not contain the humorous spoken passages from Let It Be, nor the orchestral overdubs added by Spector to "Across the Universe" and "The Long and Winding Road". The album received mixed reviews, some critics praising the simpler re-mixes and others expressing disappointment that the new album lacked the fun and humour of Let It Be.
Track listing[edit]
All tracks written by Lennon–McCartney, except where noted.
Side one
No.
Title
Lead vocals
Length
1. "Two of Us" McCartney with Lennon 3:37
2. "Dig a Pony" Lennon 3:55
3. "Across the Universe" Lennon 3:48
4. "I Me Mine" (George Harrison) Harrison 2:26
5. "Dig It" (Lennon, McCartney, Harrison, Richard Starkey) Lennon 0:50
6. "Let It Be" McCartney 4:03
7. "Maggie Mae" (Traditional, arr. Lennon, McCartney, Harrison, Starkey) Lennon with McCartney 0:40
Side two
No.
Title
Lead vocals
Length
1. "I've Got a Feeling" McCartney with Lennon 3:38
2. "One After 909" Lennon with McCartney 2:54
3. "The Long and Winding Road" McCartney 3:38
4. "For You Blue" (Harrison) Harrison 2:32
5. "Get Back" McCartney 3:09
Personnel[edit]
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", "Let It Be" 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 and electric piano on "I Me Mine", 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", tuned-down six-string electric guitar on "Two of Us" and "Maggie Mae", lead vocals on "I Me Mine" and "For You Blue", backing vocals
Ringo Starr – drums, percussion 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 – "re-producer" (final overdubs), final mixing
Covers[edit]
The album's songs have been covered by numerous performers including Aretha Franklin, John Denver, Brooke White, Katie Stevens, Boney M., Joan Baez, George Michael, Willie Nelson, Pearl Jam, David Bowie, Fiona Apple, Billy Ocean, Bill Withers, Elvis Presley, Diana Ross, Jackson 5, Status Quo, Seether, Soundgarden, Stereophonics, Rod Stewart, Jennifer Hudson, B5, and Widespread Panic. In addition, the Slovenian group Laibach covered the entire album except for the title track.[39]
Charts and certifications[edit]
Weekly charts
Chart (1970)
Position
Australian Kent Music Report Chart[40] 1
Canadian RPM Albums Chart[41] 1
Dutch Mega Albums Chart[42] 1
Japanese Oricon LP Chart[43] 2
Norwegian VG-lista Albums Chart[44] 1
Swedish Albums Chart[45] 2
UK Albums Chart[46] 1
US Billboard Top LPs[47] 1
West German Media Control Albums Chart[48] 3
Weekly charts (1987 reissue)
Chart (1987)
Position
Japanese Albums Chart[43] 8
UK Albums Chart[46] 50
Weekly charts (2009 reissue)
Chart (2009)
Position
Austrian Albums Chart[49] 52
Belgian Albums Chart (Flanders)[50] 37
Belgian Albums Chart (Wallonia)[51] 64
Danish Albums Chart[52] 40
Finnish Albums Chart[53] 34
Japanese Albums Chart[54] 18
Mexican Albums Chart[55] 30
Portuguese Albums Chart[56] 11
Spanish Albums Chart[57] 45
Swedish Albums Chart[58] 24
Swiss Albums Chart[59] 48
New Zealand Albums Chart[60] 29
UK Albums Chart[61] 49
Year-end charts
Chart (1970)
Position
Australian Albums Chart[40] 6
UK Albums Chart[62] 6
US Billboard Pop Albums[63] 31
Chart (1972)
Position
Japanese Albums Chart[64] 8
Chart (1973)
Position
Japanese Albums Chart[64] 7
Decade-end charts
Chart (1970–79)
Position
Japanese Albums Chart[65] 7
Certifications
Region
Certification
Australia (ARIA)[66]
Platinum
Canada (Music Canada)[67]
3× Platinum
France (SNEP)[68]
Gold
United Kingdom (BPI)[69]
Gold
United States (RIAA)[70]
4× Platinum
BPI certification awarded only for sales since 1994.[71]
References[edit]
Jump up ^ Unterberger, Richie. "Review: Let It Be". Allmusic. Retrieved 24 September 2014.
^ Jump up to: a b Classic Rock Magazine, September 2014, "Let It Be saw the band return to their R&B and blues roots"
Jump up ^ Lewisohn 1988, p. 137.
Jump up ^ Spitz 2005, p. 636.
Jump up ^ McCartney 1995.
Jump up ^ Brown, Peter and Steven Gaines, The Love You Make: An Insider's Story of the Beatles. ISBN 9781440674075.
Jump up ^ Schweighardt & Sulpy 1999, p. 169.
Jump up ^ Schweighardt & Sulpy 1999, p. 205.
Jump up ^ Schweighardt & Sulpy 1999, p. 305.
Jump up ^ Sulpy & Schweighardt 1997.
Jump up ^ Lewisohn 1996.
^ Jump up to: a b Lewisohn 1988, p. 176.
^ Jump up to: a b Lewisohn 1988, p. 196.
Jump up ^ Schweighardt & Sulpy 1997, p. 314-315.
Jump up ^ Schweighardt & Sulpy 1997, p. 316.
Jump up ^ Macdonald 2007, p. 277.
Jump up ^ Lewis, Michael; Spignesi, Stephen J. 100 Best Beatles Songs: A Passionate Fan's Guide. Hachette Books. p. 42. ISBN 9781603762656.
Jump up ^ Unterberger, Richie. "Let It Be – The Beatles – Songs, Reviews, Credits, Awards – AllMusic". AllMusic.
Jump up ^ Partridge, Kenneth (8 May 2015). "The Beatles' 'Let It Be' at 45: Classic Track-by-Track Album Review". billboard.com. Retrieved 26 July 2017.
Jump up ^ "Robert Christgau: CG: The Beatles". robertchristgau.com. Retrieved 3 October 2015.
Jump up ^ "The Beatles – Let It Be [Remastered] – Album Reviews – Consequence of Sound". Consequence of Sound. Retrieved 3 October 2015.
Jump up ^ McCormick, Neil (8 September 2009). "The Beatles – Let It Be (8th May, 1970), review". The Daily Telegraph. Retrieved 20 April 2017.
Jump up ^ Larkin, Colin (2006). Encyclopedia of Popular Music. 1. Muze. p. 489. ISBN 0195313739.
Jump up ^ Graff, Gary; Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 88. ISBN 1-57859-061-2. CS1 maint: Extra text: authors list (link)
Jump up ^ "The Beatles". Pitchfork. Retrieved 3 October 2015.
Jump up ^ The Beatles | Album Guide | Rolling Stone Music
Jump up ^ "The Beatles – Let It Be (album review 2) – Sputnikmusic". sputnikmusic.com. Retrieved 3 October 2015.
Jump up ^ Badman, Keith (2001). The Beatles Diary Volume 2: After the Break-Up 1970–2001. London: Omnibus Press. p. 9. ISBN 978-0-7119-8307-6.
Jump up ^ Smith, Alan (9 May 1970). "The Beatles: Let It Be (Apple)". NME. p. 2. Available at Rock's Backpages (subscription required).
Jump up ^ Doggett, Peter (2011). You Never Give Me Your Money: The Beatles After the Breakup. New York, NY: It Books. p. 137. ISBN 978-0-06-177418-8.
Jump up ^ Mendelsohn, John (11 June 1970). "The Beatles Let It Be Album Review". Rolling Stone. Retrieved 25 March 2015.
Jump up ^ Gabree, John (August 1970). "Review: The Beatles Let It Be; Paul McCartney McCartney; Ringo Starr Sentimental Journey". High Fidelity. p. 110.
^ Jump up to: a b Harris, John (2003). "Let It Be: Can You Dig It?". Mojo: The Beatles' Final Years Special Edition. London: Emap. p. 132.
Jump up ^ Unterberger 2009e.
Jump up ^ Rolling Stone 2007.
Jump up ^ 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
Jump up ^ Billboard – Google Books. Books.google.com. 6 November 1976. Retrieved 21 August 2011.
Jump up ^ "The 43rd Academy Awards, 1971". Oscars. Academy of Motion Picture Arts and Sciences. Retrieved April 17, 2017.
Jump up ^ Gossling, Glenn (2003). Buckley, Peter, ed. The rough guide to rock. Rough Guides. p. 576. ISBN 978-1-84353-105-0.
^ Jump up to: a b Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book. ISBN 0-646-11917-6.
Jump up ^ "RPM – Library and Archives Canada". RPM. Retrieved 12 October 2012.
Jump up ^ "dutchcharts.nl The Beatles – Let It Be" (ASP). Hung Medien, dutchcharts.nl (in Dutch). MegaCharts. Retrieved 12 October 2012.
^ Jump up to: a b "Yamachan Land (Japanese Chart Archives) > Albums Chart Daijiten > The Beatles" (in Japanese). Original Confidence. Archived from the original on 19 December 2012. Retrieved 12 October 2012.
Jump up ^ "norwegiancharts.com The Beatles – Let It Be" (ASP). Retrieved 12 October 2012.
Jump up ^ "Swedish Charts 1969–1972" (PDF) (in Swedish). Hitsallertijden. Retrieved 12 October 2012.
^ Jump up to: a b "The Beatles - Full official Chart History". Official Charts. Retrieved 13 May 2016.
Jump up ^ "The Beatles - Chart history". Billboard. Retrieved 13 May 2016.
Jump up ^ "Album Search: The Beatles – Let It Be" (ASP) (in German). Media Control. Retrieved 12 October 2012.
Jump up ^ "austriancharts.at The Beatles – Let It Be" (ASP). Hung Medien (in German). Retrieved 12 October 2012.
Jump up ^ "ultratop.be The Beatles – Let It Be" (ASP). Hung Medien (in Dutch). Ultratop. Retrieved 12 October 2012.
Jump up ^ "ultratop.be The Beatles – Let It Be" (ASP). Hung Medien (in Dutch). Ultratop. Retrieved 12 October 2012.
Jump up ^ "danishcharts.com The Beatles – Let It Be" (ASP). danishcharts.com. Retrieved 12 October 2012.
Jump up ^ "finnishcharts.com The Beatles – Let It Be" (ASP). Hung Medien. Retrieved 12 October 2012.
Jump up ^ "Highest position and charting weeks of Let It Be (2009 Remaster) by The Beatles". oricon.co.jp (in Japanese). Oricon Style. Retrieved 12 October 2012.
Jump up ^ "mexicancharts.com The Beatles – Let It Be". mexicancharts.com. Retrieved 12 October 2012.
Jump up ^ "portuguesecharts.com The Beatles – Let It Be" (ASP). Hung Medien. Retrieved 12 October 2012.
Jump up ^ "The Beatles – Let It Be" (ASP). spanishcharts.com. Retrieved 12 October 2012.
Jump up ^ "swedishcharts.com The Beatles – Let It Be" (ASP) (in Swedish). Retrieved 12 October 2012.
Jump up ^ "The Beatles – Let It Be – hitparade.ch" (ASP). Hung Medien (in German). Swiss Music Charts. Retrieved 12 October 2012.
Jump up ^ "charts.org.nz The Beatles – Let It Be" (ASP). Hung Medien. Recording Industry Association of New Zealand. Retrieved 12 October 2012.
Jump up ^ "Official Albums Chart Top 100 (13 September 2009 - 19 September 2009)". Official Charts. Retrieved 14 May 2016.
Jump up ^ "1970s Albums Chart Archive". everyhit.com. The Official Charts Company. Archived from the original on 6 October 2009. Retrieved 12 October 2012.
Jump up ^ "Billboard.BIZ – TOP POP ALBUMS OF 1970". Retrieved 12 October 2012.
^ Jump up to: a b "Top-ten of the Japanese Year-End Albums Charts 1970–1974" (in Japanese). Oricon. Archived from the original on 16 July 2012. Retrieved 12 October 2012.
Jump up ^ Oricon Album Chart Book: Complete Edition 1970–2005. Roppongi, Tokyo: Oricon Entertainment. 2006. ISBN 4-87131-077-9.
Jump up ^ "ARIA Charts – Accreditations – 2009 Albums". Australian Recording Industry Association. Retrieved 12 October 2012.
Jump up ^ "Canadian album certifications – The Beatles – Let It Be". Music Canada. Retrieved 12 October 2012.
Jump up ^ "French album certifications – The Beatles – Let It Be" (in French). InfoDisc. Retrieved 12 October 2012. Select THE BEATLES and click OK
Jump up ^ "British album certifications – The Beatles – Let It Be". British Phonographic Industry. Retrieved 15 September 2013. Enter Let It Be in the search field and then press Enter.
Jump up ^ "American album certifications – The Beatles – Let It Be". Recording Industry Association of America. Retrieved 12 October 2012. If necessary, click Advanced, then click Format, then select Album, then click SEARCH
Jump up ^ "Beatles albums finally go platinum". British Phonographic Industry. BBC News. 2 September 2013. Retrieved 4 September 2013.
Sources
Lewisohn, Mark (1988). The Beatles Recording Sessions. New York: Harmony Books. ISBN 0-517-57066-1.
Lewisohn, Mark (1996). The Complete Beatles Chronicle. Chancellor Press. ISBN 0-7607-0327-2.
MacDonald, Ian (2007). Revolution in the Head. Chicago Review Press. ISBN 978-1-55652-733-3.
"The RS 500 Greatest Albums of All Time". Rolling Stone. 18 November 2003. Retrieved 10 December 2007.
Schweighardt, Ray; Sulpy, Doug (1999). Get Back: The Unauthorized Chronicle of the Beatles "Let It Be" Disaster. New York: St. Martin's Griffin. ISBN 0-312-19981-3.
Spitz, Bob (2005). The Beatles. Back Bay Books.
Sulpy, Doug; Schweighardt, Ray (1997). Get Back: The Unauthorized Chronicle of the Beatles "Let It Be" Disaster. New York: St. Martin's Press. ISBN 0-312-15534-4.
External links[edit]
Wikiquote has quotations related to: Let It Be
Recording data and notes
The Lost Beatle Tapes / The Making of Let It Be
The British Beatles Fanclub
Preceded by
McCartney by Paul McCartney Billboard Top LPs number-one album
13 June – 10 July 1970 Succeeded by
Woodstock: Music from the Original Soundtrack and More
by various artists
Preceded by
Hey Jude by The Beatles Australian Kent Music Report number-one album
15 June – 12 July 1970 Succeeded by
Déjà Vu by Crosby, Stills, Nash and Young
Preceded by
Bridge Over Troubled Water by Simon & Garfunkel UK Albums Chart number-one album
23 May – 13 June 1970 Succeeded by
Bridge Over Troubled Water by Simon & Garfunkel
[show]
v
t
e
Let It Be
Let It Be (film)
Let It Be... Naked
Songs
Side one
"Two of Us"
"Dig a Pony"
"Across the Universe"
"I Me Mine"
"Dig It"
"Let It Be"
"Maggie Mae"
Side two
"I've Got a Feeling"
"One After 909"
"The Long and Winding Road"
"For You Blue"
"Get Back"
Non-album single
"Don't Let Me Down"
Outtakes
"All Things Must Pass"
"Another Day"
"The Back Seat of My Car"
"Commonwealth"
"Gimme Some Truth"
"Hear Me Lord"
"Let It Down"
"Teddy Boy"
"Watching Rainbows"
Related articles
Rooftop concert
Billy Preston
Phil Spector
Let It Be (Laibach album)
Kum Back
Let It Be (musical)
The Beatles discography
Please Please Me
With the Beatles
A Hard Day's Night
Beatles for Sale
Help!
Rubber Soul
Revolver
Sgt. Pepper's Lonely Hearts Club Band
Magical Mystery Tour
The Beatles (White Album)
Yellow Submarine
Abbey Road
Let It Be
Past Masters
[show]
v
t
e
The Beatles album discography
Albums in the core catalogue are marked in bold.
Studio albums
Please Please Me
With the Beatles
A Hard Day's Night
Beatles for Sale
Help!
Rubber Soul
Revolver
Sgt. Pepper's Lonely Hearts Club Band
The Beatles ("White Album")
Yellow Submarine
Abbey Road
Let It Be
US albums
Introducing... The Beatles
Meet the Beatles!
The Beatles' Second Album
A Hard Day's Night
Something New
The Beatles' Story
Beatles '65
The Early Beatles
Beatles VI
Help!
Rubber Soul
Yesterday and Today
Revolver
Magical Mystery Tour
Yellow Submarine
Hey Jude
Canadian albums
Twist and Shout
The Beatles' Long Tall Sally
Extended plays
Twist and Shout
The Beatles' Hits
The Beatles (No. 1)
All My Loving
Souvenir of Their Visit to America
Four by the Beatles
Long Tall Sally
Extracts from the Film A Hard Day's Night
Extracts from the Album A Hard Day's Night
4 by the Beatles
Beatles for Sale
Beatles for Sale No. 2
The Beatles' Million Sellers
Yesterday
Nowhere Man
Magical Mystery Tour
Live albums
Live! at the Star-Club in Hamburg, Germany; 1962
The Beatles at the Hollywood Bowl
First Live Recordings
Live at the BBC
On Air – Live at the BBC Volume 2
Compilations
From Then To You / The Beatles' Christmas Album
Sessions
Past Masters
Anthology (1, 2, 3)
I Saw Her Standing There
The Beatles Bootleg Recordings 1963
Remixes
Yellow Submarine Songtrack
Let It Be... Naked
Love
Box sets
The Beatles Collection
The Beatles: The Collection
The Beatles Box
The Beatles Box Set
The Capitol Albums
vol. 1
2
The Beatles in Mono
The Beatles (The Original Studio Recordings)
The U.S. Albums
The Japan Box
[show]
v
t
e
Phil Spector
Productions
Albums
Twist Uptown
He's A Rebel
A Christmas Gift for You from Phil Spector
Presenting the Fabulous Ronettes Featuring Veronica
Just Once in My Life
River Deep - Mountain High
Let It Be
All Things Must Pass
John Lennon/Plastic Ono Band
The Concert for Bangladesh
Imagine
Living in the Material World
Some Time in New York City
Rock 'n' Roll
Born To Be With You
Death of a Ladies' Man
End of the Century
Season of Glass
Silence Is Easy
Singles
"To Know Him is to Love Him"
"Corrine, Corrina"
"Pretty Little Angel Eyes"
"Talk to Me"
"Under the Moon of Love"
"There's No Other (Like My Baby)"
"Uptown"
"He Hit Me (It Felt Like a Kiss)"
"He's a Rebel"
"Zip-a-Dee-Doo-Dah"
"He's Sure the Boy I Love"
"Why Do Lovers Break Each Other's Heart"
"(Let's Dance) The Screw"
"Da Doo Ron Ron"
"Then He Kissed Me"
"Be My Baby"
"Baby, I Love You"
"Christmas (Baby, Please Come Home)"
"(The Best Part of) Breakin' Up"
"Do I Love You?"
"Walking in the Rain"
"Ringo, I Love You"
"Why Don't They Let Us Fall in Love"
"You've Lost That Lovin' Feelin"
"Just Once in My Life"
"Is This What I Get for Loving You?"
"Hung Up on You/Unchained Melody"
"Ebb Tide"
"River Deep - Mountain High"
"A Love Like Yours (Don't Come Knocking Everyday)"
"Proud Mary"
"You Came, You Saw, You Conquered!"
"Black Pearl"
"Instant Karma (We All Shine On)"
"The Long and Winding Road"
"My Sweet Lord"
"What Is Life"
"Power to the People"
"Mother"
"Try Some, Buy Some"
"Bangla-Desh"
"Imagine"
"Happy Xmas (War Is Over)"
"A Woman's Story"
"Born to Be with You"
"Baby, Let's Stick Together"
"Rock 'n' Roll High School"
"Do You Remember Rock 'n' Roll Radio?"
"Silence Is Easy"
Compilations
Menlove Ave.
Back to Mono (1958-1969)
Other songs
"Don't You Worry My Little Pet"
"Chapel of Love"
"I Can Hear Music"
"Little by Little"
"Spanish Harlem"
"This Could Be the Night"
Associates
The Beatles (John Lennon
George Harrison)
Bob B. Soxx and the Blue Jeans
Leonard Cohen
The Crystals
Sonny Charles and the Checkmates, Ltd.
Dion DiMucci
Larry Levine
Jack Nitzsche
Yoko Ono
Ramones
The Righteous Brothers
Ronnie Spector
The Ronettes
The Teddy Bears
Ike and Tina Turner
The Wrecking Crew
Related articles
"B Boy Baby"
"Take Me Home Tonight"
Wall of Sound
Gold Star Studios
Philles Records
Phil Spector International
Recording studio as musical instrument
Warner-Spector Records
Easy Rider
Let It Be... Naked
Tearing Down the Wall of Sound
Murder of Lana Clarkson
Phil Spector
Category
Retrieved from "https://en.wikipedia.org/w/index.php?title=Let_It_Be&oldid=810588657"
Categories:
1970 albums
Albums produced by Phil Spector
Albums recorded at Apple Studios
Albums recorded at Abbey Road Studios
Apple Records albums
The Beatles albums
The Beatles soundtracks
English-language albums
English-language soundtracks
1970 soundtracks
Apple Records soundtracks
Film soundtracks
Albums arranged by George Martin
Hidden categories:
CS1 maint: Extra text: authors list
CS1 Dutch-language sources (nl)
CS1 Japanese-language sources (ja)
CS1 Swedish-language sources (sv)
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Articles needing additional references from January 2015
All articles needing additional references
Music infoboxes with deprecated parameters
Articles with hAudio microformats
All pages needing factual verification
Wikipedia articles needing factual verification from September 2012
Certification Table Entry usages for Australia
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