Paul McCartney was unable to contact Spector, but wrote to Allen Klein on 14 April 1970 detailing his objections. He demanded that the “strings, horns, voices and all added noises to be reduced in volume”; “vocal and Beatle instrumentation to be brought up in volume”; and “harp to be removed completely at the end of the song and original piano notes to be substituted”.
Allen Klein decided – possibly having consulted the others, but certainly not me – that Let It Be would be re-produced for disc by Phil Spector.So now we were getting a ‘re-producer’ instead of just a producer, and he added all sorts of stuff – singing ladies on ‘The Long And Winding Road’ – backing that I perhaps wouldn’t have put on. I mean, I don’t think it made it the worst record ever, but the fact that now people were putting stuff on our records that certainly one of us didn’t know about was wrong. I’m not sure whether the others knew about it. It was just, ‘Oh, get it finished up. Go on – do whatever you want.’ We were all getting fed up.
However, Let It Be was released on 8 May 1970 without McCartney’s changes being made. The work on ‘The Long And Winding Road’, in particular, was a point of contention which angered McCartney for many years; in 2003 Let It Be… Naked reversed many of Spector’s changes, presenting the songs in their original, unadorned fashion.
I heard the Spector version again recently, and it sounded terrible. I prefer the original sound that’s shown on Anthology 3.
Anthology
Phil Spector was unrepentant about his work on Let It Be, and adopted a typically combative approach when asked about McCartney’s objections.
Paul had no problem picking up the Academy Award for the Let It Be movie soundtrack, nor did he have any problem in using my arrangement of the string and horn and choir parts when he performed it during 25 years of touring on his own. If Paul wants to get into a pissing contest about it, he’s got me mixed up with someone who gives a s**t.
Let It Be was a huge commercial success, topping the charts in the UK and US. ‘The Long And Winding Road’ was also a number one single in the US. John Lennon later defended Spector’s work on the album, suggesting that the songs would have remained unreleased without his input.
When Spector came around, it was like, ‘Well, alright, if you want to work with us [laugh], go and do your audition, man.’ And he worked like a pig on it. He’d always wanted to work with The Beatles and he was given the shittiest load of badly recorded s**t – and with a lousy feeling to it – ever. And he made something out of it. It wasn’t fantastic, but I heard it, I didn’t puke. I was so relieved after six months of this black cloud hanging over.
Lennon Remembers, Jann Wenner
Spector later worked with both John Lennon and George Harrison. In 1970 he produced the raw, stripped-down John Lennon/Plastic Ono Band album, and Harrison’s ornate and orchestrated triple album All Things Must Pass.
In 1971 he was appointed director of A&R for Apple Records, a post which he held for just one year. With Lennon he co-produced the ‘Power To The People’ single, and the chart-topping Imagine album. Spector also worked on Harrison’s ‘Bangla Desh’ and Ronnie Spector’s Harrison-penned ‘Try Some, Buy Some’ and recorded the chart-topping triple album The Concert For Bangladesh – for which he used up to 44 microphones during the live performances.
Phil is, I believe, a great artist. But like all great artists, he’s very neurotic. But we’ve done quite a few tracks together, Yoko and I, and she’d be encouraging me in the other room and all that. And we were just lagging, and Phil moved in and brought in a new life to it because we were getting heavy.
Lennon Remembers, Jann Wenner
Further work with Lennon included the 1971 single ‘Happy Xmas (War Is Over)’ and the 1972 album Some Time In New York City. The following year he began work on Lennon’s Rock ‘N’ Roll album, although the pair’s relationship drew to an end during the sessions amid accusations of wild behaviour. Spector is said to have brandished a gun in the studio, and later disappeared with the tapes; Lennon eventually completed the album himself.
Spector became increasingly reclusive after suffering severe head injuries in a car accident in March 1974. Earlier in the year he had established the Warner-Spector label, and the following year he set up the Phil Spector International label with Polydor.
Recordings with Cher, Dion, Leonard Cohen and The Ramones followed, with varying degrees of success, but critical and commercial acclaim – as with many of his recordings – grew in the years after their release. A 1977 compilation of his Philles recordings led to a reappraisal of many of his earlier songs.
In 1981 he worked with Yoko Ono, producing Season Of Glass, her first album after the death of John Lennon. However, his reclusive nature increased during the 1980s and 1990s, resulting in few recordings. In 1989 he was inducted into the Rock and Roll Hall of Fame.
On 3 February 2003 Spector was arrested on suspicion of murder after the body of 40-year-old nightclub hostess and actress Lana Clarkson of Los Angeles was found at his California mansion. Clarkson, who had been shot, was pronounced dead at the scene. On 20 November Spector was indicted for her murder, and in September the following year was ordered to stand trial in Los Angeles.
Spector claimed that Clarkson’s death was an “accidental suicide”. He was released on $1 million bail while awaiting trial, which began in March 2007. He was charged with second-degree murder, but in September 2007 the judge declared a mistrial after the jury announced that it could not reach a verdict.
In April 2009, following a five-month retrial, a second jury unanimously found the 68-year-old Spector guilty of second-degree murder.
Spector died on 16 January 16 2021 at the age of 81, from complications relating to Covid-19. He died in San Joaquin General Hospital in French Camp, California.
I think the Spector’s work in Let It Be was very good. The original concept of Get Back was broken for The Beatles on January 1970 but the guilty was Spector, who begun works only on march. Let It Be was a huge sucess. “The Long and Winding Road” the last Top Hit. The Richard Hewson arrangement is wonderfull. Perfect for this take from 26-01-1969.
If you don’t liked LET IT BE hear the Glynn Johna Mixes. This will be The First Official Bootleg of the History.
The original and honest concept from Get Back Sessions was there but neither The Beatles liked this.
Spector does what was payed. A presentable album.
I definetely don’t like Phil Spector’s work on ‘Let It Be’, and I’ve got good company on this, namely Glyn Johns, Paul McCartney and ultimately John Lennon himself.
Let it be LP version may be Harrison’s best solo and is the better version.
The rest of the LP is not well produced.
Harrison’s ATMPass is not well produced by Spector. The sound was dates for 1970.
The only decent thing he did on Let It Be was on “I Me Mine.” The horn & string arrangement for that song is quite good. Everything else – “Let It Be,” and especially “Across The Universe” & “The Long And Winding Road” sound terrible.
And why did he remove the acoustic guitar on “For You Blue,” after the intro? I’ll never understand that…
The only thing Spector did right was the edits on “I Me Mine” (which the “..naked” folks re-created).
The horns and strings are superfluous, at best. The really are a distraction and, to me, an annoyance alonge with everything else he did on that album. Despite the songwriting, I always put the original album alongside CCR’s “Mardi Gras:”. Just terrible and a sad finale for each (remember LIB was releases after “Abbey Road”.).
I think the Spector’s work in Let It Be was very good. The original concept of Get Back was broken for The Beatles on January 1970 but the guilty was Spector, who begun works only on march. Let It Be was a huge sucess. “The Long and Winding Road” the last Top Hit. The Richard Hewson arrangement is wonderfull. Perfect for this take from 26-01-1969.
If you don’t liked LET IT BE hear the Glyn Johns Mixes. This will be The First Official Bootleg of the History.
The original and honest concept from Get Back Sessions was there but neither The Beatles liked this.
Spector does what was payed. A presentable album.
The first bootleg that I purchased was the Great White Wonder by Bob Dylan, which later became The Basement Tapes.
I bought the Great White Wonder several months before “Kum Back” was available.
I don’t think the naked version can light a candle to Spector’s creation.
The “Let it be” LP and single was my first contact with the Beatles music, back in 1970 when I was 7 years old. I still have the single with the fantastic B-side “You know my name”. I think Spector’s work on “across the universe” and “the long and winding road” was excellent. But today I don’t really regard this album as a “real” Beatles album. Mind you, even including “Watching rainbows”, “All things must pass” and a couple of others like “don’t let me down” wouldn’t have changed anything, the Beatles were dispirited and Spector used the bits he thought were best. I’ve listened to a quantity of “Get back” sessions bootlegs and they all stink! so when John says “I didn’t puke” when he listened first to the finished product, I ‘m on the same page. IMO, there are 10 real Beatles albums, and Let it be ain’t part of them, but it’s interesting and fun to listen , particularly the 2009 remaster, forget the naked version of 2003! Actually, I’d call it “the beatles b*****d album”, as not all 4 four of them agreed on its content.
this has always been my favorite BEATLES record,but I wouldn’t even think of calling it their best.what appeals to me is the relaxed ROCK&ROLL atmosphere .but (and this is not really in Spector’s favor)the live rooftop stuff is the best. even though his handling of’ the long and winding road’ is heavy handed,I like it. Paul’s ‘naked’ version is a little bit too clean in between songs.you can’t beat the irony of Lennon’s last words on a BEATLES’ record (to laughs)”thank you and I hope we pass the audition”.they (at least chronologically)had just finished conquering the music world,as this was the last LP we got out of them .George Martin was one of the ‘secrets’ of their success,and GOD rest his soul.
“Let It Be…Naked” sounds like a Beatles record- the clarity of the instruments and vocals is similar to “Abbey Road”. The original, in addition to the horrid Spector additions, sounds muddy, echoey, and generally poor. – always did. Could they have included a few of the off-the-cuff comments? Sure, but it adds NOTHING to the music, and that’s what it’s all about.
I’m with you there. Also, nice call on analogizing this release with CCR’s ‘Mardi Gras’. Definitely a tough finale.
Abbey Road was the last album recorded. George Martain was reluctant after he was shafted out of any producer credit. Yes, Phil Spector did turn up the volume, but that is not always the best thing to do. Thankfully, Abbey Road was a beautiful album and a fitting goodbye to working together.
Hi Tony, it was Ringo who said ”thank you and I hope we pass the audition”. pc
It was of course John! It’s on film, easy to verify.
I think “Long and Winding Road ” and “Across the Universe ” were overproduced although Spector ‘s work on “Let it Be” and “I me mine” were fine. But his production work on “Instant Karma!” was outstanding.
I disagree. “Karma” sounds like it was recorded in a cave with performers at one end and the mics at the other.
Let it Be by Spector is inconsistent doesn’t meet the objective.
LAWroad he ruined it.
Let it Be is the only song that he nailed