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“Dig a Pony” is also a timely reminder that the band still had their eponymous double album in their system. “Dig a Pony” is an excellent example of the ‘ warmth and freshness of a live performance‘ that the faithfully reproduced sleeve notes remind us is what this album is all about. Which, looked at another way, is an early lament for the end of the band. Along the way songs like “Two of Us ” remind the listener that the band have closeness that is often forgotten in these fractured recording sessions as McCartney reminds us that the band have ‘ memories‘ that are ‘ longer than the road ahead‘. It looks to the past (“One after 909”) whilst showing you a potential future (the sadly rejected/unused “All Things Must Pass “). However, this listen and this mix remind you that there is a great deal of fun on this record.
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I’m not sure if this sadness is mine alone or, as recent McCartney interviews would suggest, it was one shared by The Beatles themselves.
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This realization is followed by another: as the last album by the Beatles there is an inherent sadness to listening to it, fully aware that this is the last ‘proper’ release and that the band did nothing else together of note until the Anthology series of the 1990s. It is not until now I realize how much there is a skiffle-like quality to the song a throw back to the pre- Beatles, Quarrymen days. “Two of Us” sounds sharper and the kick of the drum heavy and clear, the simple guitar strum working hard in the background. For me, this is the fascination of this and the previous two box sets ( Abbey Road and The White Album)-a chance to take a peek at the creative process that surrounded some of the world’s best love songs. Firstly, it is impossible to return to this album without considering the previous album (the eponymous The Beatles) and the album that would follow very quickly after these recording sessions ( Abbey Road). Indeed, this was such a period of creativity that songs suggested for The Beatles find themselves on Abbey Road two albums later all the while the band are writing and suggesting new songs, showcasing their creativity all the way to the end. During the multiple listens I have undertaken, both for pleasure and for the purposes of this article, many things occurred to me. This is important as, for many, LIBN is now the definitive version of the LP. It is worth noting that this is a brand new mix is of the original 1970s release of the album not the more recent Let It Be…NAKED. LP1: A Brand New Mix of the Classic Album But every comment, every criticism and every thought comes from a place of love for a band that have been with me throughout my whole life. The band mean so much to so many, it would be ridiculous to think that everyone will agree with everything I have to say. I’d like to think what you find here are my feelings and ideas, rather than those that I might have produced if i’d read the book (so to speak).Īs a lover of The Beatles and armed with absolutely zero musical talent, these are my thoughts, feelings and opinions. Therefore before commencing here I have not read through the book. It is beautiful, well presented and contains the work and musings of far greater writers than I. A book I have purposely stayed away from. The Box Set arrives with a 100 page hardback book.
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Is it possible to separate the album from the circumstances around its release? Is it possible that the outtakes and rehearsals here can shed new light on its creation? Finally, was shelving Glynn Johns’ Get Back album (contained herein) a shrewd move by the band or a missed opportunity? No, this is more an attempt to reassess the album. This article is not an attempt to review The Beatles Let It Be.
#Let it be the beatles year free
True, chronologically, Abbey Road was the last record they made together (and as an aside, free from the shackles of being The Beatles it’s clear they are more relaxed and enjoying themselves) but as the last studio release it carries the burden of being the last thing the band released hits packages and box sets aside. In came a group that, after a decade or more of being together, gave every appearance of having had enough. Out had gone the consequence free fun of the first few albums or the experimental thrill of the mid-60s. I’ll be honest, Let It Be has never been my favorite. And not just any version of the album either, the super deluxe 5LP box set edition. With the imminent release of The Beatles Thanksgiving feast that Peter Jackson’s Get Back will (hopefully) be, now seems like just the right to time to delve into what often seems like one of the most divisive Beatles albums in their catalogue: Let It Be.