Let It Be... Naked

The Beatles | Format: Audio CD

Product Details

• Audio CD (November 18, 2003)
• Original Release Date: 2003
• Number of Discs: 2
• Label: Capitol
• ASIN: B0000DJZA5
• Also Available in: Audio CD  |  Audio Cassette  |  Vinyl
• Average Customer Review: 3.9 out of 5 stars  See all reviews (687 customer reviews)
• Amazon Best Sellers Rank: #1,691 in Music (See Top 100 in Music)
  • #19 in Music > World Music > Europe > British Isles
  • #30 in Music > Classic Rock > Supergroups
  • #35 in Music > Classic Rock > British Invasion

Track Listings

1. Get Back

2. Dig A Pony

3. For You Blue

4. The Long And Winding Road

5. Two Of Us

6. I've Got A Feeling

7. One After 909

8. Don't Let Me Down

9. I Me Mine

10. Across The Universe

11. Let It Be

Editorial Reviews

Amazon.com

Re-recorded, remixed, overdubbed and repackaged--all before its 1970 American release, mind you--Let It Be has long been the most second-guessed album in the Beatles otherwise sterling catalog. This curious, three-decade-late, stripped-down rethink offers up yet another spin on what started as a back-to-the-roots album/documentary project called Get Back in January, 1969, but ended up as the band's de facto swan song 18 months later. Paul McCartney in particular has long been irked by producer Phil Spector's grandiose orchestra and choir overdubs to the title track and "The Long and Winding Road," and indeed the "bare" versions here have a distinct, plaintive charm lacking in Spector's typical pomp. All the various snippets of studio and live chatter that seasoned the original have been removed, leaving the recordings to be judged on their essentially live-in-the-studio merits. If the intent was to "de-Spectorize" the album, the inclusion of John Lennon's 1968 benefit track "Across the Universe" and George Harrison's "I Me Mine" (which marked the last-ever Beatles session in January, 1970) in their original versions seems equally odd, the legendary producer having appended them to the album's original track listing in the first place. The rambling "bonus disc" of conversation and song snippets culled from hundreds of hours of session and film tapes may fascinate diehard fans, but it also underscores the murky, often unfocused state of affairs the Fabs found themselves in during the last year of their remarkable career. --Jerry McCulley

Product Description

At last we can hear Let It Be the way it was meant to be, the original masters in their originally intended form, PLUS a bonus, "fly on the wall" disc that presents 25 minutes of music and conversation from the Beatles at work in rehearsal and in the studio.

Most Helpful Customer Reviews

225 of 240 people found the following review helpful

5.0 out of 5 stars One more go at it August 17, 2004

By MurrayTheCat

Format:Audio CD

The Beatles rejected the GET BACK album upon its completion in 1969 and again in 1970. The project (renamed LET IT BE) then got the Phil Spector treatment, with Paul being kept completely in the dark about it. Many have called the Spector album shoddy, but most Beatles fans bought it and enjoyed it despite the consensus that it was not top-notch.

At one time The Beatles were capable of producing much magic "live" in the studio--and they had done it often. But after they quit touring, the lack of playing together eventually took its toll, John admitting that "The Beatles musically weren't as together in the last few years." John also said that these sessions had "lousy feeling." But within the album notes to this new release, marketing mentality strikes once again and, rather typically, attempts to put a spin on these "raw and unadorned" sessions, saying that this is what the group wanted. "Raw and unadorned" shouldn't be confused with "careless and crude." The latter two are not what the group was shooting for, but a fair amount of that made it onto the tapes because of their lack of desire to focus on making music. (Just a few months later they did focus on making music and produced ABBEY ROAD!)

I still look at LET IT BE as a compilation of rehearsals; little of it sounds finished. Though the songs themselves are great, the performances are not, for the most part, of the highest Beatles standard. Sure, there are many magical moments throughout; but the magic is fleeting, and we are continually reminded of a great producer's absence--George Martin! These recordings are culled from sessions that, had the proper commitment been there, should have produced a remarkable Beatles album along the lines of what we were accustomed to.... Each attempt at presenting these sessions only leaves me wondering what could have been if George Martin had been allowed to fully produce them. That said, here's what we get this time around:

"Get Back" is noticeably cleaner than the previous releases. But this version fades out quickly before Paul's "ooo-oo," leaving it sounding truncated--annoyingly unresolved. Overall, I still prefer the 1969-single version with its very satisfying ending, the version we fans thrilled to for a full year before the Spector LP appeared.

The electric piano in "Dig A Pony" is more prominent here; otherwise, there is not much difference between this account and Spector's. "For You Blue" reveals little difference as well.

"The Long And Winding Road" is a different take from Spector's, and, as another reviewer astutely points out, we get lots of rehearsal-like "plinky dink" playing, unworthy of a finished Beatles song. It is typical for musicians to play with this type of uncertainty when the arrangement is still in the building stage, and here the uncertain piano fills don't carry the song's emotion between Paul's vocal lines. The tempo surges at times, and this whole take is pretty much a rough run-through. Though the combination of orchestra and choir on Spector's version periodically strikes me as being unnatural, I never thought that it transported the song to the world of Mantovani. In fact, I never realized just how much I love the Spector account until I sat and compared these two versions at length.

"Two Of Us" reveals no significant variation except that it fades out before the guitars stop and before John's whistling goes charmingly out of tune, present on the Spector version.

We are given a different rendition of "I've Got A Feeling." It is not quite as hot, matching neither the emotion in the vocals nor the intensity and drive of the performance Spector chose for his album. I also like Preston's piano line better on the Spector track.

Top honors go to NAKED for the better mix of "One After 909." The song really comes alive here. One very consequential difference is that Ringo's bass drum has punch on NAKED; on the Spector it's pure mud. The added punch gives the song an infectious--even delirious--drive that it never had before. Unfortunately, the fade at the end is quick so as not to catch the live atmosphere.

This take of "Don't Let Me Down" is rehearsal quality all the way; it pales in every respect compared with the glorious single version released in 1969.

On Spector's "I Me Mine," the strings are heard where, on this new mix, the organ pops through more noticeably.

And here, "Across The Universe" is back to its original speed. Though the Spector treatment sounds neither preferable nor wrong (John certainly liked it), this NAKED one sounds, well, naked. I still prefer the original version found on PAST MASTERS VOLUME TWO. That one sounds closer to the John of early 1968 who made bizarre requests of George Martin, wanting a song "to sound like an orange" and such.

Finally, this remix of the title track brings the organ up front more, we miss the electric piano on the first walk-down before the guitar solo, and the brass is gone. The new version also omits the third-verse edit found in the Spector version. But this mix bewilders me: Is it substantive and worthwhile? Or is it a run-of-the-mill account, one more from a potentially endless parade of remixes? George's guitar solo is different yet again. So what? If you ask me, the single version (found on PAST MASTERS VOLUME TWO and the SINGLES boxed set) still says it best.

Though I still prefer Spector's LET IT BE, I cannot recommend it over this cleaned-up version to all listeners. Each has strengths; neither is perfect.

The album notes assert that this edition reveals how the album was meant to be. Didn't the Spector album make the same assertion? So much for promises. Read more ›

43 of 46 people found the following review helpful

3.0 out of 5 stars Don't throw your originals out yet. Where's George's solo? January 6, 2004

By Lakan Kildap

Format:Audio CD

like one reviewer of the original (1969/70) version wrote, George's solo on the title track was one of the best reasons for having that album. All other versions of "Let it Be" ("Past Masters 2", "1") have the orchestra like tinkling sound.

I was expecting this new version to retain at least that ravishing George guitar solo, but I was deflated instantly when I found out it does not.

For all the bad raps he's got, I also think Phil Spector's added orchestrations for "Long and Winding Road" actually helped make the song better. The version that comes with this re-release is supposed to sound as originally intended, but I don't see how it's better than the 1970 version. FWIW, nothing in Let It Be has come out as intended. Even its current position as the last of the Beatles album is a result of accident. "Abbey Road" was supposed to be the last, and "Golden Slumbers/Carry That Weight/In the End" was supposed to be the Beatles' swan song, not "Long and Winding Road". But after you've heard "Long and Winding Road", especially the soaring Spector version, would you say it was the wrong song for the part? I don't think so.

This is still a good record to have. It's not a justifiable buy, from a value for money POV. Nothing recent about the Beatles is, not even the ridiculously popular Anthology albums, with the exception perhaps of the "Live at the BBC" which IMO is a worthy addition. But for a diehard Beatle fan and collector, this is a must have. But don't throw out the 1970/Spector version out just yet. You might miss it someday....

Many years from now, I know I'll put the original on the player, crank the amps, switch to the title track, close my eyes, and listen to that rare, only-in-this-album-and-nowhere-else George Harrison guitar solo. Read more ›

110 of 130 people found the following review helpful

2.0 out of 5 stars Want a REAL alternate version? (Instructions included) November 24, 2003

By A Customer

Format:Audio CD

By taking out the dialogue, this has been made into an antiseptic, somewhat ordinary work. The point was to strip away Spector's figerprints, but they removed the charm as well. Far from being "Naked," it actually sounds well-produced. These versions are for the most part ones we've heard before, so there's no great revelation. Many note that "Anthology Disc 3" provided better insights, and I agree; a good fifty percent of the "Let It Be" songs are on that disc! But the most egregious thing those in charge (and, contrary to many claims I've read in these reviews, I think Paul had less to do with this than many claim) did was to change the running order of the songs. Sorry -- once you're used to it, it doesn't pay to change the formula; you can't act as if the original never existed.
SO -- if you really want a cool, alternate "Let It Be," get the ORIGINAL "Let It Be," the ANTHOLOGY 3 disc, and "Let it Be NAKED," and then burn the following songs onto a CD in this order:

1. Two Of Us (Anthology 3)
2. Dig A Pony (Anthology 3)
3. Across the Universe (Naked)
4. I Me Mine (Anthology 3)
5. Dig It (Original)
6. Let It Be (Anthology 3)
7. Maggie Mae (Original)
8. Medley: Rip It Up/Blue Suede Shoes (Anthology 3)
9. Mailman, Bring Me No More Blues (Anthology 3)
10. Old Brown Shoe (Anthology 3)
11. I've Got a Feeling (Anthology 3)
12. One After 909 (Naked or Original)
13. Long and Winding Road (Anthology 3)
14. For You Blue (Anthology 3)
15. Don't Let Me Down (Naked)
16. Get Back (Anthology 3)

Try it... it's very cool, and you won't feel as disappointed!