The "Get Back / Let It Be" sessions • Day 22

Overview

Following their rooftop performance on January 30, 1969, The Beatles — joined by Billy Preston — returned to the basement studio of Apple the next day, for the final day of their “Get Back” sessions. Their goal was to complete recordings of three songs that hadn’t suited the outdoor setting: “Two of Us,” “The Long and Winding Road,” and “Let It Be.” Unlike the earlier, more freewheeling rehearsals at Twickenham and Apple, this session had a clear focus: capturing performances suitable for the cameras and, ideally, for release.

The session began with “Two of Us,” which was completed with minimal effort — after just one false start and three full takes. One of these performances would later become the opening track of the “Let It Be” album. With recording progressing smoothly, The Beatles indulged in lighthearted studio jams, revisiting oldies and some of their older tracks. Among these were “Step Inside Love,” a song Paul McCartney had written for Cilla Black in 1968, a take on Revolver-era “Run for Your Life,” and an improvised version of “Lady Madonna” with altered, playful lyrics.

After a break, The Beatles turned their attention to “The Long and Winding Road,” recording multiple takes. One of these would later be featured on the 2003 “Let It Be… Naked” album.

The final song of the session, “Let It Be,” proved to be the most challenging. Over 22 takes were recorded, with John Lennon initially taking the lead vocal on a skiffle-style version featuring an alternate melody. As the session wore on, tensions surfaced — John, appearing bored, injected humorous, irreverent lines such as “And in my hour of darkness she is standing left in front of me, squeaking turds of whisky over me” into the lyrics. Paul also altered the words at times, referencing “Brother Malcolm,” likely a nod to their longtime roadie Mal Evans.

Despite the difficulties, The Beatles eventually captured a take that — after later overdubs — became the version released as both a single and the title track of the “Let It Be” album. This was the penultimate take of the day. An edit of this take and the final take was used in the “Let It Be” film.

The January 31 session effectively marked the end of the primary recording phase for the “Get Back / Let It Be” project. Throughout 1969, engineer Glyn Johns prepared multiple mixes of a potential album, but The Beatles rejected them all. In early 1970, additional overdubs were recorded, shaping the “Let It Be” album, which was finally released in May 1970.

Main songs recorded on this day

Two Of Us

From beatlesebooks.com:

On January 31st, 1969, the day after their famous rooftop concert, The Beatles worked at perfecting three songs deemed unsuitable for the roof before the film crew and studio engineers, this day’s performances described as “Apple Studio Performance” on the tape boxes. The first of these songs, “Two Of Us,” was filmed and recorded seven times, after which was recorded various cover songs to wind down before they began work on perfecting “Let It Be” and “The Long And Winding Road” for the cameras. Mark Lewisohn, in his book “The Beatles Recording Sessions,” indicates that “take 12” of “Two Of Us” was chosen for the “Let It Be” album, indicating that there may have been some performances on this day that were breakdowns, not making it to the conclusion of the song. Also of note here is John whistling the coda to “Hello Goodbye” at the song’s conclusion, a 1967 Beatles recording that contains a similar conclusion after a ‘Beatles break.’

Something of interest during the recording of this song on this day that was caught on camera and seen on Peter Jackson’s “Get Back” series was a bit of dialogue between Paul and John that mimicked the closing monologue of the early episodes of “Rowan & Martin’s Laugh In,” their current favorite television show. As Dan Rowan would try to conclude the show, Dick Martin would interject a story about a relative of his that Dan did not want to hear, this bit always concluding with him saying, “Say goodnight, Dick,” to which Dick would respond, “Goodnight, Dick!” In imitation of this, Paul states, “Did I ever tell you about…,” to which John interjects, “I don’t think I want to hear that, Dick! Ok, Jim. Goodnight Paul!” Paul responds with, “Goodnight, John” and then shortly thereafter delivers the official version of the song as we know it today, followed by John’s realization that his guitar needs tuning. While playing guitar, John sings, “I suddenly discovered I was half way out of tune / but I continue playing because I’m no goon.”

From beatlesebooks.com

Let It Be

From beatlesebooks.com:

After The Beatles nailed down an acceptable performance of “Two Of Us,” as well as messing around with various other selections, Paul moved from acoustic guitar to piano to set their attention to “Let It Be.” They performed many takes of this song that were numbered takes 20 through 27 to coincide with the take numbers from the film’s clapper board. Since there were a few breakdowns and false starts, some of these numbered takes included these incomplete versions along with full renditions of the song. Paul had finally written the lyrics to the final set of verses by this day, and had decided to introduce the song by playing an instrumental version of the verse on piano instead of “the F bit” as he had been.

A rehearsal of the song before the official takes began included a version played with a skiffle-style beat and Lennon singing the words to a different melody. It was obvious that John was becoming irritated and/or bored of the whole process by this point, making fun of the lyrics on occasion to releive some stress. “And in my hour of darkness, she is standing left in front of me,” he sings at one point, continuing, “squeaking turds of whiskey over me.”

“Take 20” started off well but was called to a stop by Glyn Johns midway through the first chorus because Paul’s vocals were popping, especially on the word “be.” John begins whistling when the signal to stop occurs and then mutters, “What the fck is going on?” and mentions the popping. “This isn’t very loud, Glyn,” Paul complains, John interjecting, “Poppin’s in, man. I’ll never get ‘Maggie Mae’ done if it goes on like this!” After another false start, they deliver their first complete performance, flawed only by John flubbing his bass part during the descending chords just before the guitar solo, John announcing “Fcked it!” directly after his mistake. After the song concludes, John asks, “Let it be, eh?” After Paul answers, “Yeah,” John adds, “I know what you mean.”

“Take 21” started off fine but kept slowing in tempo, this prompting Paul to call the performance to a halt after the guitar solo. He then sang the line “When all the broken hearted people” as a slurring drunk, which causes John to call out “Get off, you bum!” in imitation of a heckler in a nightclub. Paul then states, “It just, I don’t know, it got so, sort of…I don’t know.”

“Take 22” was a complete performance but was also marred by a slowing tempo. When Paul realized this wasn’t going to be the final take, he sang the last verse as “When I find myself in times of heartache, Brother Malcolm comes to me,” and then finishes the take in a less-than-serious vocal tone. After it concludes, John sings, “There once was a woman / that loved a moondog.” “Moondog,” of course, was a reference to an early name for The Beatles and was also included in the lyrics to John’s “Dig A Pony” from these January 1969 sessions.

Before “take 23” begins, John states, “Daddy wants to wee wee,” which triggers Paul to announce, “Daddy wants wee wee, Glyn!” After “take 23” is announced, Paul says, “Keep it going, leave it up a bit or something.” John then states, “Don’t say that word,” which Paul answers with “a-a-a-a-awful sorry!” John then asks with mock sincerity, “Are we supposed to giggle in the solo?” to which Paul replies, “yeah,” followed by John’s “okay.” This take went quite well, although after it was over John stated in a British royalty accent, “I lost a bass note somewhere!” After Paul replies “Oh!” in a similar accent, John continues, “I don’t think it mattered if that was it.”

“Take 24” was going quite well right into the guitar solo section where George ad-libs impressively, Paul singing encouragingly “Let it be, yeah, whoah.” Paul then accidentally leads the band through two choruses instead of just one, a mistake he would typically make. Since there are two choruses at the end of the song, John mistook this to be the conclusion and started playing the descending bass pattern heard at the song’s end. As Paul notices this when he begins the final set of verses, he reacts vocally with “When I find myself in, whoah!” Billy Preston reacts to this flub with some soulful swirling organ playing, knowing that this take was ruined. Paul continues on nonetheless, singing in an exagerated style until John stops the take by exclaiming, “OK, OK,” Paul continuing with, “OK, she stands right in…” until everybody stops playing. “I thought it was ‘end,’ you know,” John apologetically states regarding his bass flub.

“Take 25” just makes it through to the first chorus where Paul starts singing in a high falsetto harmony on top of John and George’s “aaah”s. This prompts Paul to exclaim, “What the sh*t and hell is going on here?” John and Paul then engage in some pseudo-German banter before Paul continues into a second attempt at “take 25” by counting it off in a mock German accent. This next rendition makes it all the way to the end but was determined mid-way through to be spurious, resulting in Paul once again including “Brother Malcolm” in the lyrics. After it concludes, the following conversation takes place:

John (sarcastically): “I think that was rather grand. I’d take one home with me.”
Glyn: “No, that was fine.”
John (mimicking the computer HAL9000 from the movie “2001: A Space Odyssey”): Don’t kid us, Glyn. Give it to us straight.”
Glyn: “That was straight.”
Paul: “Ah, what do you think, Glyn?”
Glyn: “I don’t think it’s yet.”
Paul: “C’mon.”
John: “OK, let’s track it. (Sharply intakes breath creating a sound of shock.) You bounder, you cheat!” (and then reprising “2001: A Space Odyssey”) “Get Me Off This Base! Get Me Off…”

The Beatles had been more than used to editing and overdubbing practices throughout their career, especially during the extensive “Sgt. Pepper” sessions. However, they were determined to make this new project different. “We would learn the tunes and record them without loads of overdubs; do a live album,” George related in the book “Beatles Anthology.” Therefore, this performance of “Let It Be,” like all of the other songs for this project, was intended to be performed perfectly from beginning to end and become the finished product. Normally they would “track it” even though it wasn’t a perfect performance, but they didn’t want to take advantage of that luxury here. If they did, they would be considered a “bounder” or “cheat.” As we will see below, they ended up doing a good share of ‘cheating’ at future sessions to get the song to its releasable state.

Meanwhile, as “take 26” just gets past the first measure, Paul proceeds to play the introductory notes to the “Twelfth Street Rag,” prompting John to sing, “Oh, Everybody’s got a little bit about the bo…” They move directly into another attempt at “Let It Be,” this falling apart when Paul messes up the lyrics in the final set of verses. Since they were appearing to lose their enthusiasm for the song at this point, they decided to move on to “The Long And Winding Road” and then come back to “Let It Be” a little later in the day.

After “The Long And Winding Road” was wrapped up, they came back with renewed drive to finish up “Let It Be.” During the commotion before “take 27” began, John exclaims in a funny British accent, “Uh, no, I’ve lost me little paper,” undoubtedly referring to a cheat sheet he was using for the song. “Don’t talk like that,” he then said to himself as a film crew member announced “’Take 27,’ sync to second clap.” Paul follows this with “Sync to second clap, please” before beginning what then became the basic master recording of the released single and album track as we know it. Apart from a few sour lead guitar notes on George’s Fender Telecaster solo (which would be improved upon twice in later months) and Paul failing to sing “there will be no sorrow” during the song’s conclusion as he intended, this was considered to be a perfect take.

Paul, always being the one to try to top himself just in case it could be done even better, quickly announced, “One more time, very fair, one more.” With determination to remember to sing his “no sorrow” lyric during the final choruses, he started another rendition immediately. “Let’s do one more just to cover ourselves,” Paul stated, John replying, “We’ve done so many of the bastards!” Unfortunately, this was stopped by George Harrison, saying, “Oh, just let me get this…” so that he could quickly tune a guitar string. After George says “OK,” Paul reprises his statement from the beginning of the last version, saying “Second clap” and then claps his hands, causing George to laugh during the introduction of their next rendition.

This second version of “Let It Be,” commonly identified as “take 27b,” was also near perfect, Paul remembering to sing “there will be no sorrow” twice in the final moments of the song. George’s guitar solo came out better on this take, which was remembered decades later when the “Let It Be…Naked” album was being assembled. Both Paul and George, however, preferred the previous version, despite the fact that, as Paul explained, “I didn’t quite sing the words I had written here, though.” This being settled, “take 27” was chosen to be officially released version of the song, the general public never knowing that “there will be no sorrow” was actually supposed to be included in the lyric. “Take 27b” was, however, the version used as the primary performance for the “Let It Be” movie, some sections of an earlier take being edited in that slightly alter the structure of the song. This being the final performance of the month-long project, John emphatically exclaims, “OH, YES!” as the final sounds of the instruments fade out. His intention of including “Maggie Mae” on this day was either forgotten or deemed less important than his desire to go home for the evening.

From beatlesebooks.com

The Long And Winding Road

From beatlesebooks.com:

[The three songs recorded on this days] were “Two Of Us,” “Let It Be” and “The Long And Winding Road.” While performances of the first two songs were chosen for international release, each of the many excellent renditions of “The Long And Winding Road” recorded on this day were overlooked for inclusion on the “Let It Be” album and single. Producer Glyn Johns still prefered the rougher version of the song that they recorded on January 26th, 1969, which happens to be the very day that Paul taught them the chords and first worked out the arrangement. Interestingly, as mentioned above, Phil Spector also prefered this rough early version when putting together the “Let It Be” album in March of 1970.

Nonetheless, on January 31st, 1969, after they recorded a suitable version of “Two Of Us” in a relatively short amount of time, The Beatles blew off the tension by running through many oldies, including some of their own compositions like “Run For Your Life” and Paul’s “Step Inside Love.” Getting back to the work at hand, The Beatles put in many attempts at nailing down “Let It Be” before putting it aside for a while.

After a lunch break, Paul rehearsed certain parts of “The Long And Winding Road” by himself for fine-tuning purposes. The Beatles then began official work on the song, the performances being designated as “take 13” through “take 19” to coincide with the movie director’s clapper board takes. It should be noted, however, that there were many false starts and incomplete versions, some of these being combined together within the take numbers, which will be indicated below as 16A, 16B, 16C and so on. All in all, including partial rehearsals, it took an actual total of 19 takes to reach an acceptable recording of the song on this day. On these takes George dials back his lead guitar lines in the vocal gaps and Ringo is instructed not to tinkle around on the cymbals anymore in the verses.

Before their first attempt at the song begins, we hear John practicing his bass part on his Fender VI Bass, George running through some scales on his Fender Telecaster, and Paul practicing a bit on the studio’s Bluthner grand piano. After “take 13A’ is called out, Paul leads the group through a few bars of the first verse before someone in the crew calls the song to a halt. “Take 13B” is a competent full performance of the song, flawed only by the highly rotating Leslie speaker effect on George’s guitar in the solo and an overall lack in enthusiasm by the group as a whole. “OK, do it again,” Paul announces afterwards, knowing it could be done better.

After a bit of fumbling around on their instruments as well as Paul practicing the song’s introduction, “take 14” is called out. This rendition started off well despite Paul having to deal with a moving microphone. Just after the second verse begins, McCartney pops his “p” on the lyric “pool of tears,” which prompts him to slightly pound on this piano keys and ask “Have you got a screwdriver for this mic?”

After the microphone problem is fixed, “take 15A” stops immediately after the second measure because of Ringo hitting the downbeat of the third measure a little early. “Let’s do it again,” Paul patiently asks, instructing the drummer “just come in, don’t syncopate. Just come in straight.” McCartney then immediately counts off “take 15B,” which reveals the singer struggling three times to get through the first introductory measure. After he does, “take 15B” turns out to be a complete version but with many sour chords from George’s guitar, which apparrently needs to be re-tuned. After the take is complete, George discusses something with Paul off microphone in which the singer responds “wrong.” Producer Glyn Johns then informs Ringo that “on the very last chord on the end of the row, the cymbals are not bass drum…the bass drum makes it a bit heavy.”

“Take 16A” doesn’t get past “The Long and…no” introduction, while “take 16B” is called to a halt when Paul hears the Major 7th chord after the lyric “to your door.” “Now what’s that?” McCartney asks, which prompts George and Billy Preston to demonstrate the chord with Paul’s piano. “It just sounds funny,” McCartney replies before launching into “take 16C.”

“Take 16C” is a complete version that is sung in a very spirited fashion by Paul although George’s guitar still sounds out of tune. Paul vocalizes the solo in the instrumental section of the song on top of Billy Preston’s keyboard work, which seems to indicate that McCartney intended to break their “no overdubs” policy and have a new solo of some sort recorded there later. After this take is complete, Paul chuckles slightly and asks, “Do it again, can we keep going?”

They moved directly into another full version of the song before the crew could call out another take, therefore this one can be designated as “take 16D.” George’s guitar now appeared to be re-tuned, but Paul unfortunately played the wrong chord at the end of the third verse, which prompted him to say “yeah” and thereafter lessening the intensity of his vocal performance because he knew this take wasn’t going to make the grade. “There were a couple of cock-ups in that, weren’t there?” he asked after it concluded.

After an extensive diversion of playing an impromptu version of “Lady Madonna,” they immediately went back to “The Long And Winding Road” to attempt a definitive filmed recording of the song. “Take 17A” saw its way through to the solo section until George played some sour notes, which prompted Paul to say, “OK, start again…OK, quieter this time.” McCartney tried four attempts at starting the song again, but the others weren’t ready. This prompted a “take 18” call from the camera crew.

“Take 18” was a near perfect full rendition, except for a slight sour chord from George at one point. With a little rehearsal of the song between takes, they composed themselves for “take 19,” their final take of the day. Paul performed a gentler vocal in the first half of the song, but stepped up the intensity a bit throughout in an appropriate fashion. Lyrical differences here from the version released on vinyl include the lines “left me waiting here” and “keep me standing here” in the third and fourth verses, as well as “you’ve always known” in the bridge. After it concluded, George Martin asked, “That was it, wasn’t it?”, to which Ringo replied “Sounded alright to me” followed by John saying, “Sounded lovely!” Since this final filmed performance appeared in the released “Let It Be” movie, these notable lyrical changes were only witnessed in the film and not on record until 2003 on the “Let It Be…Naked” album and then in 2021 in various Anniversary editions of the “Let It Be” album. This ended the recording attempts for the song, their attention now being focused on getting the perfect recording of “Let It Be” before they left for the day, thereby completing the entire “Let It Be” project.

From beatlesebooks.com

Session activities

The performances are sequentially numbered using the nomenclature from the book "Drugs, Divorce and a Slipping Image" by Doug Sulpy. DDSI 2.01 is, for example, the first performance from January 2nd, while DDSI 31.65 is the sixty-fifth performance from January 31st. This numbering is at times different from the DDSI numbers used on the bootleg collection "A/B Road Complete Get Back Sessions", likely because "Drugs, Divorce and a Slipping Image" was updated since the release of this collection.

1. Two Of Us

   Written by Lennon - McCartney

   Recording • DDSI.31.01 • 2:00

2. "Wild And Pretty Maid"

   Recording • DDSI.31.02 • 0:38

3. Hey Good Lookin'

   Written by Hank Williams

   Recording • DDSI.31.03 • 0:57

   Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison • Billy Preston

4. Take This Hammer

   Written by Traditional

   Recording • DDSI.31.04 • 9:03 • Medley with "Lost John","Five Feet High and Rising","Bear Cat Mama","Black Dog","Right String, Wrong Yo-Yo","Run For Your Life"

   Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison • Billy Preston

5. Lost John

   Written by Traditional

   Recording • DDSI.31.04 • 9:03 • Medley with "Take This Hammer","Five Feet High and Rising","Bear Cat Mama","Black Dog","Right String, Wrong Yo-Yo","Run For Your Life"

   Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison • Billy Preston

6. Five Feet High and Rising

   Written by Johnny Cash

   Recording • DDSI.31.04 • 9:03 • Medley with "Take This Hammer","Lost John","Bear Cat Mama","Black Dog","Right String, Wrong Yo-Yo","Run For Your Life"

   Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison • Billy Preston

7. Bear Cat Mama

   Written by Jimmie Davis

   Recording • DDSI.31.04 • 9:03 • Medley with "Take This Hammer","Lost John","Five Feet High and Rising","Black Dog","Right String, Wrong Yo-Yo","Run For Your Life"

   Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison • Billy Preston

8. Black Dog

   Written by Traditional

   Recording • DDSI.31.04 • 9:03 • Medley with "Take This Hammer","Lost John","Five Feet High and Rising","Bear Cat Mama","Right String, Wrong Yo-Yo","Run For Your Life"

   Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison • Billy Preston

9. Right String, Wrong Yo-Yo

   Written by William Lee Perryman

   Recording • DDSI.31.04 • 9:03 • Medley with "Take This Hammer","Lost John","Five Feet High and Rising","Bear Cat Mama","Black Dog","Run For Your Life"

   Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison • Billy Preston

10. Run For Your Life

    Written by Lennon - McCartney

    Recording • DDSI.31.04 • 9:03 • Medley with "Take This Hammer","Lost John","Five Feet High and Rising","Bear Cat Mama","Black Dog","Right String, Wrong Yo-Yo"

    Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison • Billy Preston

11. Two Of Us

    Written by Lennon - McCartney

    Recording • DDSI.31.05 • 0:53

12. Two Of Us

    Written by Lennon - McCartney

    Recording • DDSI.31.06 • 3:13

13. Friendship

    Recording • DDSI.31.07 • 0:24

    Performed by : John Lennon

14. Turkey In The Straw

    Recording • DDSI.31.08 • 0:21

    Performed by : John Lennon

15. Two Of Us

    Written by Lennon - McCartney

    Recording • DDSI.31.09 • 3:05

16. Step Inside Love

    Written by Lennon - McCartney

    Recording • DDSI.31.10 • 3:07

17. Friendship

    Written by Cole Porter

    Recording • DDSI.31.11 • 0:40

    Performed by : Paul McCartney • John Lennon

18. Tales Of Frankie Rabbit

    Written by Keith Drewett, Peter Dymond

    Recording • DDSI.31.12 • 1:06

19. Two Of Us

    Written by Lennon - McCartney

    Recording • DDSI.31.13 • 3:49

    AlbumOfficially released on Let It Be

20. Deed I Do

    Written by Fred Rose, Walter Hirsch

    Recording • DDSI.31.14 • 2:21 • Medley with "In The Middle Of An Island","All Together Now"

    Performed by : Paul McCartney • John Lennon

21. In The Middle Of An Island

    Written by Nick Acquaviva, Ted Varnick

    Recording • DDSI.31.14 • 2:21 • Medley with "Deed I Do","All Together Now"

22. All Together Now

    Written by Lennon - McCartney

    Recording • DDSI.31.14 • 2:21 • Medley with "Deed I Do","In The Middle Of An Island"

23. Two Of Us

    Written by Lennon - McCartney

    Recording • DDSI.31.15 • 3:59

24. I Got Stung

    Written by Aaron Schroeder, David Hill

    Recording • DDSI.31.16 • 0:58

25. Step Inside Love

    Recording • DDSI.31.17 • 0:15 • Parody by John Lennon

    Performed by : John Lennon

26. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.18 • 0:41

27. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.19 • 0:58

28. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.20 • 1:56

29. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.21 • 0:43

30. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.22 • 22:32

31. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.23 • 0:50

32. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.24 • 3:52

33. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.25 • 1:08

34. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.26 • 3:17

35. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.27 • 0:18

36. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.28 • 3:37

37. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.29 • 2:40

38. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.30 • 0:11

39. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.31 • 0:44

40. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.32 • 3:37

41. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.33 • 4:45

42. Lady Madonna

    Written by Lennon - McCartney

    Recording • DDSI.31.34 • 3:48

43. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.35 • 2:15

44. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.36 • 2:51

45. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.37 • 0:17

46. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.38 • 0:18

47. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.39 • 5:39

48. The Long And Winding Road

    Written by Lennon - McCartney

    Recording • DDSI.31.40 • 4:30

49. I Want You (She's So Heavy)

    Written by Lennon - McCartney

    Recording • DDSI.31.41 • 5:31

50. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.42 • 6:34

51. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.43 • 1:29

52. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.44 • 0:09

53. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.45 • 4:33

54. Build Me Up Buttercup

    Written by Mike d'Abo, Tony Macaulay

    Recording • DDSI.31.46 • 0:40

    Performed by : Paul McCartney • Ringo Starr • John Lennon • George Harrison

55. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.47 • 1:49

56. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.48 • 3:42

57. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.49 • 5:13

58. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.50 • 4:19

59. Party

    Written by Jessie Mae Robinson

    Recording • DDSI.31.51 • 0:26

    Performed by : Paul McCartney • John Lennon

60. Instrumental

    Recording • DDSI.31.52 • 1:03

61. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.53 • 2:58

62. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.54 • 3:46

63. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.55 • 1:03

64. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.56 • 4:43

65. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.57 • 1:05

66. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.58 • 0:18

67. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.59 • 4:25

68. Oh! Darling

    Written by Lennon - McCartney

    Recording • DDSI.31.60 • 3:15

69. Oh! Darling

    Written by Lennon - McCartney

    Recording • DDSI.31.61 • 2:44

70. Unknown

    Recording • DDSI.31.62 • 2:43

71. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.63 • 5:37

72. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.64 • 4:24

    AlbumOfficially released on Let It Be / You Know My Name (Look Up The Number)

73. Let It Be

    Written by Lennon - McCartney

    Recording • DDSI.31.65 • 4:02

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