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A friend of mine has a bootleg CD of this album that he loned me, and the total running time of the album comes to thirty-six minutes and forty-three seconds, with numerous discrepancies between the track listing times listed at this article. Does anyone know what could have caused this? —Preceding unsigned comment added by 96.36.84.114 ( talk) 07:22, 27 May 2010 (UTC)
Yes — the album was mixed in a variety of forms with differing mixes and running orders, before they shelved it and turned their attention to Abbey Road. Several of these versions were pre-released, and though none was deemed official at the time, several of them have found themselves reproduced as bootlegs despite the album finally seeing official release in definitive form over a year later. Key of Now ( talk) 11:00, 30 March 2019 (UTC)
I listened fly on the wall and around the 6th minute their are a few Imagine notes should we add this to this page? H-J
Whoever keeps undoing the edit linking "John's Piano Piece" to "Imagine" Needs to listen to the album. Identical chord progression. It would not have been included if it was not an early working version of the song. —Preceding unsigned comment added by 140.141.21.101 ( talk) 02:55, 6 April 2010 (UTC)
I'm sure when it first came out the bonus CD was said to actually be a DVD, can anyone else remember this? -- Jimmyjrg 23:22, 28 March 2006 (UTC)
The "Track notes" section of the Wiki article seems to be lifted verbatim from the article by Matt Hurwitz. Kudos for at least crediting the article, but it's still plagiarism without Hurwitz's name attached to his words. -- IKUnderhill 16:05, 14 April 2006 (UTC)
A clarification about "Across the Universe": the animal sound effects weren't part of the original version of the song recorded in 1968. The animal sounds were added later only for a new mix of the song to be included in the album No One's Gonna Change Our World, a charity album for the World Wildlife Fund, therefore they were never "edited out" for the "Naked" edition of the album by Phil Spector. Reference: Lewisohn, Mark (1988). The Complete Beatles Recording Sessions. Hamlyn Publishing Group. ISBN 0-600-55784-7. -- Marcusbacus 16:22, 15 November 2006 (UTC)
Which take is it really? The article says "For the title track, the original take 27A was used for the bulk of the song..." and this is audibly NOT the case. Just listen to the intro: on the original single, the Am-F transition chord (the one with a 'G' bass note) is played with piano's sustain pedal, while on this album's take it is not (it fades quickly, leaving a tiny gap before the Fmaj7 chord). The piano tracks are very similar, but there are enough minor differences of phrasing and intonation that they cannot be the same take. Unfortunately, I cannot now find the McCartney interview that I read at the time of the album's release, in which he stated that it was indeed a different take, but with Linda's backing vocal (the high sustained 'E' note in the intro) edited in because he had wanted to preserve her contribution. — Preceding unsigned comment added by 2602:306:32B2:B600:F1BE:3D3:3BDD:1C3C ( talk) 08:26, 3 January 2018 (UTC)
Yes, as with the production of "Love Me Do", I've come across similar discrepancies and disagreement regarding the history of the track "Let It Be". The differences between each "official" version are discernible. Some of it comes down to the mix (the specific balance of instruments) itself, but other qualities seem to hinge on alternate takes and overdubs with no small degree of creative editing. Key of Now ( talk) 11:05, 30 March 2019 (UTC)
Is This version of Let It Be really high importance? I've not changed it and I strongly support ALL official Beatles albums released at the time getting "High" but this really was Macca getting revenge on Phil Spector wasn't it? I'd categorise it as a vanity project. My vote is to downgrade the importance one notch & leave the original Let It Be on High where it belongs Megamanic 05:55, 24 August 2006 (UTC)
This album is significant as it (arguably) provides the definitive versions of some tracks over the Phil Spector mixes (e.g. The Long and Winding Road). Therefore I think high is apprpriate. Also it was sanctioned by all the remaining Beatles + Yoko. simonthebold 07:23, 24 August 2006 (UTC)
I think "Let it Be...Naked" shouldn't be graded "high" in terms of importance. I vote it should be "low." It is a vanity project from Paul. First of all, the Get Back sessions were his idea in the first place. And no producer wanted or was able to make a fluid album with the fragmented mess that was left behind. Except for Phil Spector. By the way, he's the producer Paul agreed to work on the album. The above comment "Let it Be was done without the Beatles support" is an unsubstantiated claim. In fact both George and Ringo were in the studio while Spector mixed the subpar "original recordings." Ironically, Paul couldn't "let it be" and had to release his version of the album--though his criticisms of Spector's version never prevented him from collecting the Oscar for the album nor using a symphony when he toured. John--no surprises here--was the only Beatle who recognized the work Spector did in producing The Beatles last released album.
Georgie9 ( talk) 00:36, 28 November 2007 (UTC)
I've started a rewritten version of the article without the disputed material at Talk:Let It Be… Naked/Temp. How is it? You can expand it if you want to, but without the disputed material. Steelbeard1 17:09, 19 May 2007 (UTC)
I have now deleted the copyvio article and restored it to the last version before the insertion of the copyright material. LessHeard vanU 19:56, 21 May 2007 (UTC)
This page needs to be moved to Let It Be... Naked with three unspaced full stops as per Wikipedia:Manual of Style. McLerristarr ( talk) 01:48, 16 April 2010 (UTC)
Blues rock is one of this album's genres - is it acceptable to use the same source used to back up the original Let It Be album's "blues rock" addition, since this album is just a different mix of that one? Y45ed ( talk) 15:02, 2 September 2013 (UTC)
OK, upon further investigation, it was actually YOU who added the Blues Rock genre change to the Let It Be article. You are trying to justify this genre addition on the fact that it exists in the other article! That's rather deceitful. Here's the diff to prove it: [1] ChakaKong Let's talk about it 16:00, 2 September 2013 (UTC)
I don't think it matters. I would have listed Blues Rock as one of the album's genres as well. C.Syde ( talk | contribs) 10:37, 12 May 2014 (UTC)
I spotted two or three cases where the article claims that Spector's overdubs have been removed. Here's an example: "For the title track, the original take 27a was used for the bulk of the song, but two edit pieces were flown in from take 27b ... as per all other tracks, all orchestral and choral overdubs were removed".
As I understand, this album was compiled from the original studio tapes. Therefore, there are no overdubs to remove. Is that correct? What I think it means is that this time around, no orchestral overdubs were added, which is rather different from saying they have been removed. —Preceding unsigned comment added by 90.198.157.119 ( talk • contribs) - Please sign your comments with ~~~~
I think you're right. -- C.Syde ( talk | contribs) 09:33, 27 July 2014 (UTC)
This is how it should sound. Paul wrote LWR, he has final say on production. Also, there was no good reason to leave 'Don't Let Me Down' off the original. If this is truly not up to par, then the bar is far too high ... but then again, the Beatles set the bar. — Preceding unsigned comment added by 71.83.154.30 ( talk) 18:05, 8 November 2014 (UTC)
This is a discussion-document outlining the true story of the LIBN project in a way which can be verified from recourse to available interviews with Beatles and Abbey Road personnel. I have not at this stage got references pinned down and trust that those with expertise can verify my outline proposition without recourse to references for the moment in knowledge that they exist.
I think there's a glaring problem with the article which begins with 'The project was overseen by Paul McCartney' and goes on to say 'is presented in a form which Paul McCartney considers closer to its original artistic vision'. While neither of these statements are untrue, they are incomplete and reflect an unqualified (and unqualifiable) supposition, widespread in media-commentary at time of release, that this project is a McCartney 'vanity' project.
Firstly, given the legal and management structure of Apple Corps, as is well known, it is not possible for Paul McCartney to direct projects autonomously. Indeed, McCartney's choice of material for the Anthology project had been vetoed by George Harrison on noted occasions ('Carnival of Light' being the best-publicised). George had also vetoed the title for the project which had remained since Neil Aspinall's first cut of the documentary in 1970 ('The Long and Winding Road) and both the Harrison and Lennon widows have vetos which were shown being exercised on film in the "All Together Now" documentary around the "Love" project. None of the ex-Beatles or their legal representatives can use Apple for 'vanity projects'.
Therefore, the article's strong reflection of the common supposition of McCartney's hand at its wheel means that it has been corrupted and a rewrite should start with a modification to 'The project was overseen by the surviving Beatles' or an equivalent in accuracy.
It may seem that here is a pernickety point which can just be altered but I ask for more than that. I ask that the LIBN project be wholly redefined. It has a quite different story than the media soundbite of 'Macca's revenge on Phil Spector' suggest and it is this story which Wikipedia seeks to tell. It is the story of the original 'back to basics' concept for 'Get Back'/'Let It Be' being freshly rebooted by The Beatles and Co using new technology.
Its origins are in the revisiting of master tapes by George Martin during the Anthology project. During this, he selected and released several unSpectorised outtakes from the 'Let It Be' sessions on the Anthology CDs of 1996.
In subsequent 1996 promotion for these Anthology CDs (included in part on an extras disc which came with the Anthology DVD boxed set in 2003 and on additional promotional material elsewhere), Paul McCartney and George Harrison are asked on video whether there is to be further output of unreleased material from the Abbey Road vaults. McCartney jokes that it would have to be called 'Scraping The Bottom of the Barrel' but also adds 'maybe a couple of things'. Harrison, by contrast, immediately makes reference to work-in-progress on three projects that will be completed by Apple beyond his lifetime: 'Yellow Submarine (Songtrack)', 'Magical Mystery Tour (DVD)' and 'Let It Be (Naked)'
It is also a matter of record that the production team since Anthology on all Apple Beatles projects have consistently described a situation of relative autonomy. It is THEY who call McCartney and Starr when they reach milestone points and all three Beatles have been interviewed expressing involvment, amazement and enthusiasm for what this team have been doing with restoration or remixing of Beatles material throughout 'Yellow Submarine Songtrack', 'Let It Be Naked', 'Love', the remasters and beyond. Their restatements of this autonomy continue with every new release.
Again, I haven't pinned these to evidence but I restate that an expert eye will have little problem verifying the above statements in outline.
Additional evidence of Harrison and Starr's close involvement with the LIBN project is in contemporary quotes and enthusing which formed part of the album package and in more extended form as part of the Let It Be Naked microsite at thebeatles.com. (The latter has been dead-linked for some years there but that I have just successfully had it restored by the design team for consideration along with this request so please have a look).
An overarching importance in this is that the original 'Let It Be' release provided the rationale for McCartney's first point of legal action to dissolve The Beatles, namely that his veto had been dumped. The basis of the reactivated Apple since the 90's has been restoration of the single veto which had marked all Beatles activity prior to the 'Let It Be' release in 1970. For this reason, a revision of this article has wider context.
'Let It Be Naked' was not and could not have been a McCartney project.
— Preceding unsigned comment added by Michaelk xsx ( talk • contribs) 12:22, 11 December 2014 (UTC)
@
JG66: All thanks for this response, JG66. I'm a very intermittent wiki contrib and didn't even realise I'd performed an edit as I certainly intended to discuss. Apologies if this was out of order.
I think what we'd probably agree on, as alluded to by yourself, is that the 'Reception' section might be the appropriate place to take up the controversial background aspects to the release but my suggestion regarding the article has been that it has presented this context upfront as a 'fact' of the release when it is not, obscuring the ACTUAL fact of the LIBN project having been undertaken fully within the meticulous negotiative and collaborative process of agreement that was the task of Apple's CEO, Neil Aspinall. In short, we have 'press speculation' leading the article, which is surely undesirable.
To restate my interest in making this suggestion, I have noted that speculation abroad concerning LIBN has moved further off the facts (which Wikipedia's mission is surely to root) in that a notion of McCartney's 'hand on the wheel' of LIBN (again, purely speculative and deriving from pre-existing 'break up' controversy, since it is established that CEO Aspinall commissioned the project, assigning Abbey Road staff with substantial 'production-autonomy' as is also in the record as not just a fact of the LIBN project but all of the Apple projects after 1990) has since led to the proliferation of further speculations-as-fact, including that he waited until Harrison was dead to initiate the project. While we can't address every such off-mark speculation, the fact that Harrison is the first to mention that a new 'Let It Be'-related project is forthcoming (in 1996, during promotion for 'Anthology 3' wherein the first deSpectorised versions of 'Let It Be' project tracks are presented) only serves to re-emphasise that the 'official' Apple story on LIBN is to be preferred over the opinions-presented-as-facts of journalists. I am well aware that there is pro and anti McCartney sentiment at large on this but it really isn't helpful that a Wikipedia article seeking to ground factual information, should find itself effectively promoting one of these positions against the availability of superior factual data concerning the process of the project. Again, I'd invite other researchers to look into the LIBN production process at Apple as I think there's an important distinction to draw out.
Please also note that after reading the reverted article again, I have flagged multiple instances where citation is needed. Of these, the assertion that McCartney recruited the engineers for the project is absolutely in need of a citation should one exist. I would present this particular assertion as argument for my suggestion that the article is presently verging on fictitious and may need substantial rewrite (I had mistitled this suggestion 'from scratch' alluding to the basic factual misrepresentation I'm raising). The engineers on the post-90's Apple projects have done many interviews (some cited in the article!) in which they detail how they came to get their jobs and in all instances they were cast by Neil Aspinall, originally for 'Anthology', his executive production and since retained. Michaelk xsx ( talk) 10:31, 19 March 2015 (UTC)
I have this album and I don't mean to be subjective but I think that John Lennon didn't do too bad on Let It Be and The Long and Winding Road. I don't know why Ian MacDonald described Lennon's bass playing as "atrocious to the point of sabotage." I think that John did just fine. I guess it's possible that studio technicians may have corrected his mistakes or Paul McCartney may have removed John Lennon's bass line and replaced it with his own bass part.-- Kevjgav ( talk) 00:00, 1 February 2015 (UTC)
@Kevjgav Yes, although Lennon is correctly assigned as playing 'fretless bass' by MacDonald, the author doesn't seem to have the musicianly knowledge to understand that the use of 'fretless' instruments routinely results in off-pitch notes. To characterise a shortfall in precision during a live performance as an act of 'sabotage' is therefore fanciful in the extreme. Furthermore, since Lennon is seen in the movie intensely focussed on his playing for the track, this is surely another instance of opinion-as-fact, deriving from polar journalistic positions relating to the band's break-up. Michaelk xsx ( talk) 11:16, 19 March 2015 (UTC)
@ Michaelk xsx I didn't realize Lennon played a 'fretless bass' in those songs. In the movie he's playing a Fender Bass VI. But I did know that 'fretless' instruments have some off-pitch notes. I don't mean to change the subject here, but Pink Floyd used a 'fretless bass' in Hey You and the off-pitch notes are clearly audible in the intro. Is a Fender Bass VI a 'fretless bass'? I always thought it was six-string bass. This wouldn't be the only time the instrumentation in a Beatles movie or Beatles video was different from that of the studio. One such example is the performance of The Long and Winding Road in the movie where Billy Preston is seen playing a Hammond organ in the keyboard solo, but in the studio, he played a Fender Rhodes electric piano. Another is Hey Jude where the video shows in vision George Harrison playing a Fender Bass VI, but Paul McCartney played bass in the studio. I didn't mean to go off topic by the way.-- Kevjgav ( talk) 12:44, 10 September 2015 (UTC)
The Naked version does NOT include the chatter, e.g. "I dig a pygmy, by Charles..." and "I'd like to thank you ...". Bubba73 You talkin' to me? 17:29, 12 November 2015 (UTC)
In 1969 Glyn Johns took the original session tapes and selected certain takes, mixed and edited them, and assembled an album titled Get Back.
In 1970 Phil Spector took the original session tapes and selected certain takes, mixed and edited them, and assembled an album titled Let It Be.
In 2002 Allan Rouse took the original session tapes and selected certain takes, mixed and edited them, and assembled an album titled Let It Be... Naked
Each album was mixed and assembled from scratch with different objectives in mind. None are remixes of an earlier album. Piriczki ( talk) 16:14, 23 May 2017 (UTC)
Life of Tau, Piriczki, Jc86035, TheFrog001: Can I suggest we go with "studio/remix album". It's not a very satisfactory categorisation, in my opinion. But if we do have to label the album in some way (and unfortunately Wikipedia's all about this sort of b-s categorisation), it at least reflects the message given in the track-by-track description in the article. JG66 ( talk) 14:52, 27 May 2017 (UTC)
@ Piriczki: As you can see above, this is not a valid type. Why are you reverting this? ― Justin (koavf)❤ T☮ C☺ M☯ 22:13, 24 September 2017 (UTC)
I am reverting this because it is not a remix album. In fact, this is the only assemblage of these sessions that was intended to be a studio album. If a valid definition according to Wikipedia editors is required, then it should be "studio." Piriczki ( talk) 23:12, 24 September 2017 (UTC)
@ Koavf: Setting a custom type is allowed in the template, as can be seen here. Life of Tau 23:41, 24 September 2017 (UTC)
User | Prefers | Will tolerate | Considers unnacceptable |
---|---|---|---|
Piriczki | Studio | Custom | Remix |
Life of Tau | Remix | Studio | |
Koavf | Remix, Studio, etc. | N/A | Custom |
|display_type=
to the album infobox, and then fill it in as |display_type=
Alternative album mix
.--
Ilovetopaint (
talk)
15:39, 26 September 2017 (UTC)Glyns Johns' versions of the album were more than just draft mixes. An album master tape was completed and cover artwork prepared in May 1969 for release as Get Back in July. Johns completed another master tape in January 1970, adding two songs heard in the film and removing one not in the film, and the cover artwork was revised with the title now Let It Be. Phil Spector then came in in March and compiled his version of the album which was the one released with completely different cover artwork. Both Spector's Let It Be and Let It Be Naked were compiled from scratch from the same studio sessions and the engineers on Let It Be Naked used both Johns versions and Spector's version as a reference. Just because one came after the other doesn't make it a remix, and just because one is a studio album doesn't mean the other can't be too. What if the 2003 release had been titled Get Back? What would it be classified as then? Piriczki ( talk) 16:02, 26 September 2017 (UTC)
As a contemporary interview with producer Rick Rubin (certainly a Notable person) seems relevant, I’m posting Rubin’s views. Please stop deleting them—they are not my opinions and the factuality ofRubin’s View’s is irrelevant: they factually are Rubin’s views. I am not saying that Lennon always had a doubling effect on his voice: Rubin is. I’m not saying that there was production on it: Rubin is. If you want to get in an edit war, do it with Rubin: I’m just reporting what a notable producer and avowed Beatles fan said about the production of a Beatles album. -- Akhenaten0 ( talk) 17:09, 30 June 2018 (UTC)
"Also, whereas the original album track featured Lennon beginning to play the song's final guitar riff one beat too early, this version mixes the error out, leaving a clean outro."
While this is true in the rooftop concert, I believe this was fixed for the Let it Be album. So this should be removed. WKMN? Later [ Let's talk ] 20:32, 21 July 2018 (UTC)
"This marks the second appearance of the track in its correct key as recorded..."
"A remix of the original version recorded on 4 February 1968, played at the correct speed..."
I would argue that the term "originally recorded" would be more appropriate than "correct". When the album was originally mixed and mastered, it was decided the song sounded better slowed down. That's the way it was released; to me, that makes it the "correct" speed and key. Rmhand ( talk) 03:59, 17 September 2019 (UTC)
Would someone argue that the "correct" version of Strawberry Fields Forever would have the tempo abruptly change one minute into the song? Or that George Martin's piano part in "In My Life" in "incorrect" because it we hear it at a different speed then it was recorded at? Rmhand ( talk) 03:59, 17 September 2019 (UTC)
Why is there a list of peak positions on some weekly charts in 2013? If the album was re-released that year, this article should mention it. — 71.105.198.152 ( talk) 16:07, 14 November 2021 (UTC)