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Let It Be Roberta - Roberta Flack Sings The Beatles (Amazon Exclusive Version)

Let It Be Roberta - Roberta Flack Sings The Beatles (Amazon Exclusive Version)

February 6, 2012
3.7 out of 5 stars 85 customer reviews

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  • Sample this album
    Title by Artist
    0:00 / 0:00
1
4:09
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2
3:11
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3
4:02
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4
4:15
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5
4:39
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6
3:14
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7
4:08
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8
4:39
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9
3:41
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10
3:24
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11
3:50
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12
6:20
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13
2:57
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14
3:00
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Digital Booklet: Let It Be Roberta - Roberta Flack Sings The Beatles
Digital Booklet: Let It Be Roberta - Roberta Flack Sings The Beatles
Album Only

Product Details

  • Original Release Date: February 6, 2012
  • Release Date: February 6, 2012
  • Label: 429 Records / Sony ATV
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 55:29
  • Genres:
  • ASIN: B00713ULYO
  • Average Customer Review: 3.7 out of 5 stars 85 customer reviews
  • Amazon Best Sellers Rank: #51,691 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Top Customer Reviews

By RHC on September 4, 2012
Format: Audio CD Verified Purchase
I was shocked when I began listening to Let It Be Roberta. What a let down! I've loved her piano and vocals since the early 1970s. The Beatles have been a part of my life since 1964. I anticipated a beautiful musical meeting. This cd is a disaster. I don't know who Sherrod Barnes is, but according to the credits, he's responsible for a lion's share of the production, arranging, and instrumental work on these sessions. The guy doesn't have a clue about how to help shape an artist's vision in order to accentuate her talents. The musical recasting of these classic songs with boring electronic beats, insipid background vocals, and canned instrumental ideas is a shame. Even the recorded quality of Ms. Flacks vocals is tinny and hollow. The cruelest aspect of the the project is the inclusion of a 1972 Carnegie Hall performance of Ms. Flack singing "Here There, and Everywhere" supported by her playing acoustic piano. It's a gorgeous performance, and it further highlights the terrible job Brown did in conceiving and executing this Beatles cover project. I wish Ms. Flack could get a "do over" and go back into the studio and re-record these songs with an acoustic piano and classy jazz ensemble of acoustic bass, a real drummer who can deliver some tasty brushwork, a good guitarist, and possibly a trumpet and/or saxophone. That would make Roberta Flack and Beatles songs a winning combination.
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I LOVE Roberta Flack, and have since high school. Chapter Two is one of the greatest albums of ALL TIME! In amassing a collection of every album she has ever done, I have looked forward to her putting her stamp of other'' songs. "Bridge Over Troubled Water", "You've Got a Friend" and the inimitable "You are Everything" are milestones on several of her works. All great originals, made even better by her soulful plaintive downright angelic voice.

When I read in The New York Times that she was working on this album, I was filed with anticipation. Working with some of the best material in the past fifty years, I was contemplating a double or even a triple album! But what a disappointment this is! It seems as though the pull towards MOR and Pop (which I guess started in the Killing Me Softly album) has taken her over. "In My Life" and "Hey Jude" highlight a Bubblegum sound which here seems to have overcome her wonderful voice. "Jude" is a light, happy sort of song of no consequence. And with nothing even approaching "Nah-Nah-Nah-Na-Na-Na-Nah, Nah-Na-Na-Na, Heyyyyyy Jude" final three minutes of the Beatles' Opus, it sounds here like the song ended in the middle.

"Let it Be" opens with the words,"when I find myself in times of trouble..." But it sounds like Roberta has never seen a troubling day. It makes me long for the voice that wailed "Jesse come home, there's a hole in the bed"?). Like "We Can Work It Out", another deep and soulful song, in this version totally lacking any depth or emotion. Ditto "The Long and Winding Road": another tug-at-the-heart-strings kinda song. Sadly, she fails to tug on anything in this elevator-music version. It makes one realize how emoting McCartney actually was back in the day.

Save the money. Better yet, invest in her first three or four albums.
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Format: Audio CD
I liked Roberta Flack's recordings from the 1970s, although her voice was reedy and thin. Age has only increased this quality. With the backing electronic "layering", she sounds more like a child's plastic recorder than a clarinet here. I kept having to skip forward to the next song after about two minutes. Finally, at track 12, simple piano, clear voice. Redemption of the concept? Nope. The last track was recorded live at Carnegie Hall in 1974- before beat boxes and synths so simple they sound like a pushbutton phone became de rigeur like they obviously were the last time Ms. Flack listened to current music.
This album isn't going to make new fans of anyone for Roberta Flack or The Beatles but it may cost them some. I'd encourage you to listen to the samples carefully before you buy this.
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Format: MP3 Music
Beatles + Roberta Flack?!? What could be better?!?

These tracks are stunning, seriously. Roberta breathes new life into these Beatles classics and makes them all her own. First single, We Can Work It Out is fantastic, but In My Life is hands-down my favorite. This is the perfect gift for Valentine's Day!
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I'm enjoying listening to the new Roberta for several reasons, including the difficult ones:

First impression is that although some of the arrangements are challenging in ways that I'm not taken with initially, when I consider the musicians involved and what it's about I learn to appreciate it; I become educated. It's not that I'm being a Beatle snob about it, rather at first listen I feel some difficulty with some choices for which I blame on the production mainly, that is the producer. I don't always like the imprint of the producer on her musicianship, and also the background voices at times. Sometimes I selfishly only want to hear her voice and no one elses, as one who is a Babs fanatic would want. I don't want anything clouding my ability to hear the purity and honest integrity of her voice and heart. However, the work required to create this recording is apparent, it's a lot of hard work and time to get this result. I certainly couldn't do what she does without being completely consumed and devoted to it 24/7 and I doubt I would get such successful results. I'm not disappointed, I just have to work a little to understand some of her choices, and that's a good thing too because it brings more dimension to the listener's appreciation than simply digesting something without having to even chew it to savor it. That's the sign that differentiates it from pop music to art. I felt the very same way at first with some Beatle records on my first listening. Curious, the parallel.

As the album plays through its entirety, I understand the breadth of style and expression she undertook with the whole project and those first impressions that didn't grab me at first become more coherent and enjoyable.
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