The Beatles ‎– Let It Be

Apple Records ‎– AR 34001
Vinyl, LP, Album, Stereo, Gatefold

Tracklist Hide Credits

A1 Two Of Us
Written-By – Lennon; McCartney*
A2 I Dig A Pony
Written-By – Lennon; McCartney*
A3 Across The Universe
Written-By – Lennon; McCartney*
A4 I Me Mine
Written-By – Harrison*
A5 Dig It
Written-By – Harrison*, Lennon*, McCartney*, Starr*
A6 Let It Be
Written-By – Lennon; McCartney*
A7 Maggie Mae
Written-By – Unknown Artist
B1 I've Got A Feeling
Written-By – Lennon-McCartney
B2 One After 909
Written-By – Lennon-McCartney
B3 The Long And Winding Road
Written-By – Lennon-McCartney
B4 For You Blue
Written-By – Harrison*
B5 Get Back
Written-By – Lennon; McCartney*

Companies, etc.



Thanks to George Martin / Glyn Johns / Billy Preston / Harold Seider / Mal Davies / Peter Bown / Richard Hewson / Brian Rogers.
Recorded in England.

Red apple label.

This pressing has the etching "-◁" in the run-outs, and is pressed at Capitol Records Pressing Plant, Winchester.
Copies with "IAM" (in a triangle) are pressed at Capitol Records Pressing Plant, Scranton
Copies with "0" pressed at Capitol Records Pressing Plant, Jacksonville, Illinois

First press identifier - Maggie Mae credited to "P.D."
Second Pressing credited to "P.D. arr. Lennon, McCartney, Harrison, Starkey"

Barcode and Other Identifiers

  • Rights Society: BMI
  • Matrix / Runout (Label, Side A): JS 17500
  • Matrix / Runout (Label, Side B): JS 17501
  • Matrix / Runout (Run-Out, Side A, Variation 1): Phil + Ronnie JS-17,500-15 Bell Sound sf
  • Matrix / Runout (Run-Out, Side B, Variation 1): Phil + Ronnie JS-17,501-15 Bell Sound sf
  • Matrix / Runout (Run-Out, Side A, Variation 2): Phil + Ronnie JS-17,500-12 Bell Sound sf -◁
  • Matrix / Runout (Run-Out, Side B, Variation 2): Phil + Ronnie JS-17,501-12 #3 Bell Sound sf -◁
  • Matrix / Runout (Run-Out, Side A, Variation 3): Phil + Ronnie AR1 34001 JS 17,500-27 #2 Bell Sound sf
  • Matrix / Runout (Run-Out, Side B, Variation 3): Phil + Ronnie AR2 34001 JS 17,501-28 #4 Bell Sound sf
  • Matrix / Runout (Run-Out, Side A, Variation 4): Phil + Ronnie JS-17,500 - 12 I-S Bell Sound sf -◁
  • Matrix / Runout (Run-Out, Side B, Variation 4): Phil + Ronnie JS-17,501 - 12 #2 Bell Sound sf -◁
  • Matrix / Runout (Run-Out, Side A, Variation 5): Phil + Ronnie AR1 34001 JS-17,500-24 #5 Bell Sound sf
  • Matrix / Runout (Run-Out, Side Β, Variation 5): Phil + Ronnie AR2 34001 JS-17,501-27 Bell Sound sf
  • Matrix / Runout (Run-Out, Side A, Variation 6): Phil + Ronnie JS-17,500-22 ... Bell Sound sf ─◁
  • Matrix / Runout (Run-Out, Side Β, Variation 6): Phil + Ronnie JS-17,501-11 #2 Bell Sound sf -◁
  • Matrix / Runout (Run-Out, Side A, Variation 7): Phil + Ronnie JS-17,501-12 ... Bell Sound sf -◁
  • Matrix / Runout (Run-Out, Side B, Variation 7): Phil + Ronnie JS-17,501-11 ... I-S Bell Sound sf -◁
  • Matrix / Runout (Run-Out, Side A, Variation 8): Phil + Ronnie JS-17,500-11 I-S Bell Sound sf -◁
  • Matrix / Runout (Run-Out, Side B, Variation 8): Phil + Ronnie JS-17,501-12 ... #3 Bell Sound sf -◁
  • Matrix / Runout (Run-Out, Side A, Variation 9): Phil + Ronnie JS-17,501-14 #5 sf
  • Matrix / Runout (Run-Out, Side B, Variation 9): Phil + Ronnie JS-17,501-14 #6 sf
  • Matrix / Runout (Run-Out, Side A, Variation 10): Phil + Ronnie JS-17,500-12 #4 sf
  • Matrix / Runout (Run-Out, Side B, Variation 10): Phil + Ronnie JS-17,501-12 #5 sf
  • Matrix / Runout (Run-Out, Side A, Variation 11): Phil + Ronnie JS-17,500-22 Bell Sound sf -◁
  • Matrix / Runout (Run-Out, Side B, Variation 11): Phil + Ronnie JS-17,501-12 1-S Bell Sound sf -◁
  • Matrix / Runout (Run-Out, Side A, Variation 12): Phil + Ronnie JS-17,500-13 #7 Bell Sound sf -◁
  • Matrix / Runout (Run-Out, Side B, Variation 12): Phil + Ronnie JS-17,501-13 #3 Bell Sound sf -◁

Other Versions (5 of 331) View All

Cat# Artist Title (Format) Label Cat# Country Year
PXS 1, PCS 7096 The Beatles Let It Be(LP, Album + Box, Ltd, Boo) Apple Records, Apple Records PXS 1, PCS 7096 UK 1970 Sell This Version
0946 3 82472 2 7 The Beatles Let It Be(CD, Album, Enh, RM, Gat) Apple Records, Parlophone 0946 3 82472 2 7 UK & Europe 2009 Sell This Version
No.38 The Beatles Let It Be(LP, Album, Unofficial) KKK (2) No.38 Singapore Unknown Sell This Version
SW-6386 The Beatles Let It Be(LP, Album, RE, Pur) Capitol Records SW-6386 Canada Unknown Sell This Version
EX-122, none The Beatles Let It Be(Cass, Album, RE, Unofficial) Exton, Not On Label (The Beatles) EX-122, none Poland Unknown Sell This Version


Reviews Show All 15 Reviews

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March 12, 2017

“The center could not hold ...”

While it may sound naive of me to claim that The Beatles represented the center of the universe, both for the counter culture, and the musical culture of the day, the fact is “they were” ... they were the center of the universe, and that center had no chance of holding.

I hardly feel that Let It Be was an actual album, from conception to release ... after all, many of the tracks had been out takes from previous sessions, and the band was not working together as a unit at this time. Individual members would come and go from the studio, and lay down their parts without often even seeing the others.

Not only were The Beatles unraveling, but so were the last vestiges of beauty in the world at that time ... those being the end of the Hippie, Flower Power, and ideals of the Love Generation. Battle scared brothers and sisters were returning from the distant killing fields of southeast Asia, and like The Beatles, their life changing experiences could no longer be denied. As the world was falling to its knees, so to were The Beatles ... and the release of “Let It Be” only signaled the stress shared by all of us.

More then half of the Let It Be albums were bootlegs ... these are distinguished by the lack of a small chime or ringing note at the end of side B. The notion that The Beatles had lost control, or even that they didn’t care about the control of “Let It Be” may have been the “words between the lines,” that The Beatles were really tired, didn’t care, and wanted to “Turn Off,” and “float down stream.” Not to mention their legendary law suits and fighting over musical rights, music that had once seemed to be the soundtrack of our lives was now being reduced to a commodity, to be fought over, by those who had attempted to show us all what might have been.

The album, though highly anticipated, felt weak, flat, disjointed, and lacked and contextual nature ... at least any that we had become accustomed to, and since this was to be the last offering to us by the Fab Four, there was no reason to think that they were guiding us in another direction, or on some new magical music mystery tour. This was it ... this was the end of the ride ... and there was little found between the grooves for us to hang our hats on, yet alone, our hearts. The music felt sad, as if someone had merely turned out the lights, and left me standing alone in the dark. While I tried desperately to find some aspect of myself in the songs, there was nothing left ... not even a shadow.

While there were some genuine bright spots on the album, the songs “Let It Be” and “The Long And Winding Road” were just too much of the same, that being Paul’s penchant for over production ... a trait that has plagued all of his releases. John’s “screamers” are terrific ... and “Get Back” is the highlight of the entire release.

“The rest” as they say ... is history.

Review by Jenell Kesler


February 14, 2017
I added The Beatles ‎– Let It Be,,,, Matrix / Runout (Run-Out, Side A, Variation 5): Phil + Ronnie AR1 34001 JS-17,500-23 #2 Bell Sound sf
Matrix / Runout (Run-Out, Side Β, Variation 5): Phil + Ronnie AR2 34001 JS-17,501-23 #2 Bell Sound sf


May 18, 2015
i dont got LP,what is the matter?


December 5, 2014
edited over 2 years ago

There are four good songs on this, the final release by the Beatles, which really highlights their limitations as musicians and songwriters. Following their departure from bubble gum pop, they have relied heavily on the production techniques of George Martin, but on Let It Be they have returned to a more conventional ensemble and are shown up. In the main they are playing straight ahead rock blues and they just aren't particularly good at it, also Phil Spector's over polished production really doesn't suit most of the music, "Across The Universe," Lennon's best contribution to the album, maybe being the exception. "Let It Be" is an enduring anthem with a simple yet powerful structure, but the production almost ruins it, "Get Back" is a great pop rocker, and "The Long And Winding Road" is a fabulous Ray Charlesesque hymn, but again this is over produced. I also don't mind Harrison's "For You Blue", but who is he kidding when he says Elmore James got nothing on this baby? If anything it just shows what a rudimentary musician John Lennon was...and who ever told Lennon he was funny?


September 19, 2012

This release of LIB was heavily bootlegged/counterfeited in the 1970's & 1980's. Most vinyl price guides (i.e. Goldmines) will mention how to spot a fake, and it's very easy to find this information from Beatles collector websites.

The easiest way to spot a fake is if there is no "Bell Sound" stamp in the deadwax. No stamp indicates a counterfeit. There are several other ways to identify a fake copy, but they are easy to spot when comparing to a legit copy or if you have had experience handling them. Most indicators of a fake are both cardboard stock, barely legible "Phil + Ronnie" in the deadwax, grainy pictures on the jacket, a "washed out" red apple on side 1 as well as others.


August 24, 2010
This album is remarkable in that it was created in an environment of stress and often hostility that was in part created by idealistic Paul McCartney's desire to "get back" - meaning, record an album as simply and with as few overdubs and studio effects as possible, and have it all filmed. This sort of thing may have worked for the mop-top Beatles of the past, fresh from Hamburg in the early 1960s, but with each of them wanting to perform their own work in their own way, this technique didn't quite pan out in January of 1969. The half-finished and unreleased album was handed over to producer Phil Spector to complete, which he did by adding angelic choruses and soaring orchestral pieces to songs that were beautiful in a way that directly correlated to their simplicity. This album should be looked at as another attempt by Paul McCartney to create some concept album like Sgt. Peppers or Magical Mystery Tour, and the frustrations between members of the group (like George Harrison's aggravation that his songs weren't making onto the album- note that his first solo record is a triple album) should be taken into account when listening to Let It Be.


June 9, 2010

Thank God we can take solace in the fact that "Abbey Road" was the Beatles' swan song. "Let It Be" was the final Beatle release, but "Abbey Road" I believe was recorded later.
"Let It Be" only reaffirms for me that the magic of the Beatles is all but gone. The film is depressing enough. There are so many things not to like about this album.
Let's start out with the over-the-top pomposity of the liner notes. The notes set you up to believe you are holding some historical document. In a way, you are. It's a dark side of Beatles' history.
First, the good stuff. "Get Back" is one of the last classic Beatles' songs, and the Beatles are ably assisted by Billy Preston's organ. "The Long and Winding Road", although a bit austere, is a lovely McCartney tune. John Lennon's "Across the Universe' is a beauty, too, although I prefer the more spacey alternate version.
That's about it. "Two of Us" is a pleasant song, although it seems a bit forced, as it seems Lennon and McCartney were at each other's throats at the time. "I've Got a Feeling" is a nice rock tune, nothing more.
And talk about Phil Spector's wretched excesses, and I'm not talking handguns here, his over-production of the perfect "Let It Be" turns a fine simple tune into a real mess. He should spend a few years in jail just for what he did to this track.
I rather like Harrison's bluesy "For You Blue". Beats the hell out of his minor "I Me Mine".
Lennon manages a nice rock riff with "I Dig a Pony", but his lyrics seem self-consciously clever. Not one of Lennon's major works.
"One After 909" was an early Lennon-McCartney composition. No doubt they resurrected this tune out of sheer nostalgia. It's a forgettable piece of music.
Neither the film, nor this album, are easy to take.
The film is as pretentious as the album's liner notes. The whole 'rooftop sequence' is so manipulative and calculated. This is the Beatles without a hint of spontaneity. Clearly the fab, gear times are gone.
So thank God for "Abbey Road", which was a solid album of some brilliant Beatles' music.
"Let It Be" is stilted and uninspired.