If ever there was a song which summed up the fraught nature of The Beatles’ final months, it was ‘The Long And Winding Road’.
Paul again. He had a little spurt just before we split. I think the shock of Yoko Ono and what was happening gave him a creative spurt including ‘Let It Be’ and ‘Long And Winding Road’, ’cause that was the last gasp from him.
‘The Long And Winding Road’ started out as a simple McCartney ballad, written in Scotland in 1968 at a time in which the cracks in The Beatles’ relationships were become ever deeper. A demo was recorded during the White Album sessions, but taken no further.
I was a bit flipped out and tripped out at that time. It’s a sad song because it’s all about the unattainable; the door you never quite reach. This is the road that you never get to the end of.
Many Years From Now, Barry Miles
The song was written with Ray Charles in mind, although McCartney acknowledged that the similarities were well hidden.
It doesn’t sound like him at all, because it’s me singing and I don’t sound anything like Ray, but sometimes you get a person in your mind, just for an attitude, just for a place to be, so that your mind is somewhere rather than nowhere, and you place it by thinking, Oh, I love that Ray Charles, and think, Well, what might he do then? So that was in my mind, and would have probably had some bearing on the chord structure of it, which is slightly jazzy. I think I could attribute that to having Ray in my mind when I wrote that one.
Many Years From Now, Barry Miles
In the studio
The Beatles rehearsed ‘The Long And Winding Road’ on a number of occasions during the Let It Be filming sessions at Twickenham in early January 1969. By the time they entered Apple Studios later in the month they were familiar with the song.
The song was recorded on 26 January, and again during the ‘Apple studio performance’ on the 31st, an indoor counterpart to the previous day’s rooftop concert. Seven takes were recorded on that second date, but it was a recording from 26 January was also chosen by producer Glyn Johns to appear on the unreleased Get Back album, and which formed the basis for the Let It Be version.
The unadorned song can be heard on Anthology 3, complete with a multitude of bass guitar errors by John Lennon. In truth, the song was little more than a run-through, with little care given to making it perfect.
When Phil Spector worked on the Let It Be tracks in March and April 1970, he overdubbed strings and a choir, arranged and conducted by Richard Hewson. Ringo Starr also played drums at the 1 April session. The overdubs were intended to mask the original version’s shortcomings. This wasn’t without its hazards, however.
On ‘The Long And Winding Road’ he wanted to overdub orchestra and choir but there weren’t the available tracks on the tape, so he wiped one of Paul McCartney’s two vocal tracks in order to put the orchestra on.
The Complete Beatles Recording Sessions, Mark Lewisohn
When McCartney was sent a pre-release acetate of the song he was furious, and demanded that changes be made. His thoughts were captured in an interview given to the London Evening Standard newspaper.
The album was finished a year ago, but a few months ago American record producer Phil Spector was called in by John Lennon to tidy up some of the tracks. But a few weeks ago, I was send a re-mixed version of my song ‘The Long And Winding Road’, with harps, horns, an orchestra and women’s choir added. No one had asked me what I thought. I couldn’t believe it. I would never have female voices on a Beatles record. The record came with a note from Allen Klein saying he thought the changes were necessary. I don’t blame Phil Spector for doing it but it just goes to show that it’s no good me sitting here thinking I’m in control because obviously I’m not. Anyway I’ve sent Klein a letter asking for some of the things to be altered, but I haven’t received an answer yet.
Evening Standard, April 1970
The letter was reproduced in the Anthology book. It was addressed to Allen Klein at Apple Corps Limited, and dated 14 April 1970.
Dear Sir,In future no one will be allowed to add to or subtract from a recording of one of my songs without my permission.
I had considered orchestrating ‘The Long And Winding Road’ but I had decided against it. I therefore want it altered to these specifications:-
1. Strings, horns, voices and all added noises to be reduced in volume.
2. Vocal and Beatle instrumentation to be brought up in volume.
3. Harp to be removed completely at the end of the song and original piano notes to be substituted.
4. Don’t ever do it again.Signed
Paul McCartney
c.c. Phil Spector
John Eastman
Despite Paul McCartney’s protestations, Let It Be was released a month later with Spector’s augmentations still in place. George Martin supported McCartney’s objections, claiming that the work had been done without his knowledge or involvement, and saying they were “so uncharacteristic” of The Beatles’ reputation.
That made me angry – and it made Paul even angrier, because neither he nor I knew about it till it had been done. It happened behind our backs because it was done when Allen Klein was running John. He’d organised Phil Spector and I think George and Ringo had gone along with it. They’d actually made an arrangement with EMI and said, ‘This is going to be our record.’EMI came to me and said, ‘You made this record originally but we can’t have your name on it.’ I asked them why not and they said: ‘Well, you didn’t produce the final thing.’ I said, ‘I produced the original and what you should do is have a credit saying: “Produced by George Martin, over-produced by Phil Spector”.’ They didn’t think that was a good idea.
Anthology
The dissolution hearing for the break-up of The Beatles’ partnership took place in February 1971 at the High Court of London. One of the reasons given by McCartney for wishing to leave The Beatles was that Allen Klein’s company ABKCO had arranged for ‘The Long And Winding Road’ to be altered without McCartney being consulted.
Spector, for his part, was unrepentant, adopting a typically combative approach.
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.
‘The Long And Winding Road’ was released as a US single on 11 May 1970, with ‘For You Blue’ as the b-side. 1.2m copies were sold in the first two days, and it was The Beatles’ 20th and final number one single in America.
McCartney eventually got his way with the 2003 release of Let It Be… Naked. The album featured the final take from the 31 January 1969 session, originally meant to be included on the unreleased Get Back album, and without any of Spector’s overdubs. This was also the version that featured in the Let It Be film.
Although not one of his best, still a fine McCartney song. Sticks out like a sore thumb though on an album originally meant to be a rough “back to basics ” album, and which still retains that feel on most tracks. The orchestration exacerbates the issue. In fact this song should probably have been saved for another album, although some of the songs Paul was bringing in were scarcely more appropriate.
Not surprised to see that some think this song is “meh,” but am kind of surprised to see that many prefer the original over the Naked version. I don’t like the original, I find it bombastic and schmaltzy at the same. The first time I heard the Naked version I was like “this is what it’s supposed to sound like.” Being able to hear the piano clearly without the whole orchestra blaring in the background gives it a more intimate, lonely, haunting feeling, which I’ve always felt was more appropriate to the lyrics than the grandiose original where you can barely hear it at times. I’m just glad the Naked version exists at all, it gave me newfound appreciation for a song I otherwise didn’t listen to all that much.
To me this song is extraordinarily beautiful. Even with the over the top additions by Phil Spector, which is how I first heard it and fell in love with it. When I heard the “naked” version, the bare, stripped down simplicity, I fell in love with it all over again. And to me, I hear Paul extending his hand out to John, again, like he did with Two Of Us, and Oh! Darling…but que sera, sera.
Never thought highly of this one, but I MUCH prefer the “..naked” version. At least that sounds like the Beatles, unlike the Spectorized crap-version.
Paul’s point #4 in his letter to Alan Klein… Classic
-and-
George Martin’s reply to EMI, “Produced by George Martin, over-produced by Phil Spector”… Classic as well.
George Martin must’ve been pretty pissed to have been so snarky.
I wonder how deliberate the sneaky production frills might have been, given that all were well aware of Paul’s desire to have HIS songs done his way.
Yes, GM’s opinion and wit are much appreciated!
Paul absolutely right, but coulda been a bit more polite/charming…a quip or two and some ‘please’-es and ‘thank you/sincerely…’ woulda been nice.
Spector’s opinion is nonsense…Paul absolved him of blame in the statement. Paul accepted the Academy Award for the entire soundtrack, not that song specifically. And Paul plays ALL his stuff live using the arrangements as originally released on record. I’m pretty sure Spector worships his own magical touch, and measures it against its #1 Single status. (Maybe Spector feels that an unadorned version may have sold thousands fewer and peak at #4, and maybe he’d be right. And still his would be, and remains, the far inferior (over)production. Oh, and he’s a convicted murderer.
The detail of Paul asking for the overdubs to be significantly reduced in the mix, as opposed to an entirely naked mix, is interesting.
The bass from Lennon is great though.
I’m at a loss as to the lack of respect shown for “The Long and Winding Road” which I consider to be a masterpiece, but to each his own I guess. Even the bombastic Spector version is great in it’s own way.
Interesting to read about the comment from Paul regarding Ray Charles as one of the main influences for writing the song. Incidentally, Brother Ray covered the song beautifully on his 1971 album “Volcanic Action of My Soul.”
I agree. Long And Winding Road was a masterpiece with Phil Spector s touch despite all the bitching by Paul . In retrospect ,some music critics have come around to embracing the Spector version. It compliments Paul’s sad tone and lyrics.
Beatles can be wrong . They vetoed the release of Yesterday as a single in the UK because they felt it was too a- typical of their sound. It was a #1 hit in the US and became the most covered song of all time.
Btw ,ironic GM would criticize a master producer’s work when he had orchestration incorporated into Beatles songs
A shame Paul didn’t re-record the bass line in January 1970 at the same time he did the same for the Let it Be single. And maybe got George Martin to do some subtle orchestration (like he did on the Let it Be single), as then we’d have got the perfect version!
Or saved it until Abbey Road…
I agree with you that Paul could have easily removed John’s poorly played bass part and replaced it with his own superior bass overdub – after all, he was The Beatles’ usual bassist – but it’s a mystery as to why he never made the effort to do so like he did with “Let it Be”, given that he was not averse to rerecording or overdubbing his own bass parts or replacing John’s bass playing with his own.
I did read somewhere according to quora.com, although I can’t conclusively confirm for sure, that the version at Apple was a demo and they never got around to recording a proper version intended for official release – had that been the case, chances are the basic track for that theoretical version may have been piano and guide vocals (Paul), acoustic guitars (George and John), drums (Ringo) and organ or electric piano (Billy Preston). Paul possibly would have overdubbed a finalized lead vocal to replace his guide one and he most definitely would have overdubbed the bass part himself.
Another mystery is why if Paul was occupied with piano or guitar on a basic track for certain songs and George and John understandably wanted to stay on guitars and Ringo on drums obviously, they never bothered to asked Mal Evans to play simple guide bass parts with the understanding that his efforts would be overdubbed or replaced by Paul’s own bass playing.
I agree with George Martin and Glyn Johns’s assessments of Phil Spector’s controversial orchestral and female choral overdubs being overkill. I know it’s not Paul’s fault that it turned out this way, but if the “Let it Be” tapes had been handed over to George Martin, he would have known what to do with them, because a) he was at the Savile Row sessions himself and b) he knew all four Beatles well enough to not disrespect their wishes.
Like it or not the song as released was a #1 smash.
50 years later, it still stirs the airwaves.
It is what is. Thank you, Beatles (and producers).
The original, McCartney/Martin favored version is one of my 5-7 favorite Beatles tracks of all time. Sensational. Probably my favorite Beatles ballad ever…..even more that “Yesterday.” I don’t know what it worse: Phil Spector as a person, or his manipulation of the track on the “Let It Be” album.
“The Long And Winding Road” with strings, vocal chorus, etc.
sounded to me like something you’d hear over the radio in England during WWII, like a Noel Coward song, and I thought the schmaltz was part of it, and kind of endearing and overemotional, like Good Night. Do wish the bass notes were more accurate.
I get the hate for the Spector produced “let it be”. but in my personal opinion he added key components to 2 of my all time favorite beatles songs….the turned up in your face GH solo on the title track which to this day gives me goosebumps when it hits. And his work on the long and winding road. I know macca didn’t seem to care for it but spector was right to this very day the version paul preforms is a lot more similar to the original LP version than the naked version. Plus i grew up with the original LP version
I like the new Giles Martin mix. He sharpens the orchestration and turns it down, and also makes the playing of the other members (besides Lennon and McCartney) more audible, especially Harrison’s guitar.
I frankly think that all of the versions of this song are flawed (it would have benefited from an Abby Road-style production), but the new mix sounds like the closest they’ve ever gotten to a good balance. The non-orchestrated versions usually sound underwhelming to me, and the original Spector mix was overblown.
The original Spector version is perfect. It came out months after I was born and I grew up with it. I loved to listen to it on my parents’ hi fi and I was enthralled by its sound. The Beatles had a way of allowing beautiful accidents to find their way into the world. This production on this song was one of them. The Naked version is a nice demo but is missing the majesty and emotion of the original. I love Paul but I wish he’d stop rewriting history with all these remixes. Just let the art stand.
To be fair, Paul didn’t even know what Spector was doing to the song until it was ready for release. Paul asked for changes on the final release, but they didn’t happen. So, you could say that to Spector – “Just let the art stand”.
For the life of me, I will never understand people slagging Lennon’s playing on both versions. Yes, he plays very simply. Which is exactly what this song calls for. As a professional bass player, I can tell you that playing simply is actually an art form that requires great skill to pull off. The timing and feel that the bass and drums and pull off is one of the things that makes the songs so magical. And playing with such restraint, Lennon shows great respect for the song. His little slides are the one area where he does inserts and personality and yeah… OK, they are a little goofy. But I find them very endearing and sunny in the best of ways.
It’s a bit odd for you to accuse Paul of rewriting history when he has only attempted to return his song to its original version. As seen in Get Back, which is the history of the song. Most of the Beatles albums have been remixed/ remastered so would you suggest that Giles Martin et al is also rewriting history?
Joe is right.
The Long And Boring Song.
Never liked it.
Too grandiose and plodding.
I got my wife (who is not a particular Beatles fan) to watch Get Back with me, and she was captivated.
She thought that TLAWR as done in the show was “Devastatingly Beautiful”, and still comments about it. She does not like the original Let it Be album version as much.
I also really enjoy it, but probably not in my top 20 or so Beatles songs.
*She also constantly hums/sings I’ve got a Feeling, Dig a Pony and Two of Us, which she didn’t know before watching!
We can argue if Spector’s arrangement is good or bad or if Paul should have been consulted or not or of it all was well managed or not, but I have to admit the naked version is a demo and it sounds like a demo and as a demo it should remain. Spector’s work is a finished work and it is a Beatles song.
I fail to see the point of this website giving so much prominence to this comment:
“Paul again. He had a little spurt just before we split. I think the shock of Yoko Ono and what was happening gave him a creative spurt including ‘Let It Be’ and ‘Long And Winding Road’, ’cause that was the last gasp from him.”–John Lennon.
1. It’s flat-out not true. “Abbey Road” and a magnificent solo career would follow.
2. Giving this comment such prominence here perpetuates, give new life to, the ridiculous comments John spewed in the 1970-71 Rolling Stone interview when he was at his nastiest. Young people seeing this comment here, without knowing the context (John being bitter and dumb), will have their view shaped in a silly historically-distorted direction.