(“Let It Be” was a relatively big production even before Spector came on board.) While some were chopped up and reassembled to get a better shape, the rest of the album (“Get Back,” George Harrison’s breezy “For You Blue,” the surrealistic blues of Lennon’s “Dig a Pony,” recorded live on the rooftop of the band’s Apple Corps offices) hewed more or less to what McCartney had envisioned: The Beatles rediscovering the poise and spontaneity of a great live band. Conceived by McCartney as an effort to reclaim the band’s marital groove, Let It Be presented The Beatles not as an elaborate studio art project but as four guys making music together in a room.įor as divisive as Phil Spector’s 11th-hour contributions were (George Martin joked that he should be given a credit for production, while Spector should get one for overproduction), they were also overstated: Only a handful of tracks here-most notably Lennon’s “Across the Universe” and McCartney’s “The Long and Winding Road”-were all that heavily orchestrated. The dissolution of The Beatles was a famously unpleasant situation: By 1968, Lennon and McCartney were sometimes working simultaneously in separate studios only about half of the White Album’s songs featured the full band.
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