And I've always wondered why they didn't let George Martin have a try at making an album in January 1970, say after the "I Me Mine" recording and "Let It Be" overdubs were completed. OR if they did ask him, then he had to have said "no" (which would be interesting, but so far that has been kept a secret). I mean if they went to the trouble of asking Martin to finish up the song "Let It Be", then why not also ask him to try to finish off the rest of the tracks. And there really wasn't much else to do, as Martin had done "Get Back", "Don't Let Me Down", "I Me Mine" and "Let It Be". The other 3 rooftop songs (I've Got A Feeling, I Dig A Pony, and One After 909) required only a little work. So once again, the album's two problematic songs were "Across The Universe" and "The Long and Winding Road". I know it's a LONG ways off, but I am really going to be excited to finally read what went on in January-April 1970 in Lewisohn's last volume in his trilogy. So much info during that time period has been kept under wraps, and I hope Mark can clear it all up.
a 45 of that single was in fact cut and pressed, i have held a test pressing in my hand. The label was an apple acetate label but the press was a full on preproduction 45 with emi mother stampers the lot.
i think GM largely walked away from the project when John told he he didn't want his production **** on it, GM was offended by this till the day he died and maybe they just felt too embarrassed to ask him and found it easier to nick the tapes to give to Spector
I always liked You Know My Name. Let it Be was the first and only single I ever bought upon initial release.
Yes, true. But Spector did NOT enter the scene until late January (during the "Instant Karma" recordings). Why didn't Paul, for example, just ask Martin to have a go say during early to mid-January? Of course, I don't have the answer (and I'm not expecting a real answer from you or anyone else either). It's just a question that should be answered more fully.
i wonder if this was done after the first label batch went to the printers, this would explain the subsequent label correction although the sleeve was never ever amended, a bit like Dr./Doctor Robert on Revolver.
The story is that John wanted to release the two unfinished Beatles outtakes "What's The New Mary Jane" b/w "You Know My Name (Look Up The Number)" under The Plastic Ono band in 1969. John and Yoko went in and added new overdubs to the 1968 master of "What's The New Mary Jane" and he edited the 1967 master (which used 1969 overdubs) of "You Know My Name" down from 6 to 4 minutes for release. But I believe the other Beatles blocked it's release, so the single never came out. But his edit of "You Know My Name" was used as the b-side to the "Let It be" single anyways. THE SOURCE - Acetates - Apple - You Know My Name (Look Up The Number) b/w What's The New Mary Jane »
I suspect Paul didn't want GM's production **** on Get Back either, but was a bit more diplomatic about it. Ironically, George Martin went on to produce the multi platinum, dumbed down CSNY-esque group America, featuring a dramatically stripped-back sound from the ocean of studio trickery that characterized the tail end of The Beatles. That production isn't a million miles removed from what Spector ended up doing for Let It Be, and Martin might have done about as good a job salvaging the sessions.
I also believe that EMI (who owned the Beatles recorded material) balked at releasing these Beatles recordings under another name. So even if the other 3 Beatles had allowed John to do it, EMI wasn't going to allow it.
I've acknowledged so many times already. But I would also say that assuming John had nothing to do with that idea is speculation too.
I don't have the single anymore but I recall it being quite long. Seems like it was more than 4 minutes! But I'm thinking back decades and decades ago.
again my guess they were too embarrassed too, and Paul who was closest to GM who might have been most likely too was off in seclusion with a bottle but without a phone at the time, just my guess...
well again to repeat what others have said with zero evidence to the contrary the default position has to remain the status quo ( leave it alone Arnie lol )
Well it is nice that we all now agree (including you through your above response to muffmasterh) that this theory that John was involved is a baseless speculation.
I said so from the beginning, not sure what made you think otherwise. As for baseless... well, it's based on the arguments I gave a few times already.
i do not wish to rehash earlier responses too much, you are entitled to think John had a hand in it if you wish and he may have , but there is just a much evidence for it being Paul Ringo George Klein or Spector or even the suits at EMI, the default position is that we have no idea who sequenced it and there is no evidential case to make for any of the above, as i think to be fair you accept. nonetheless it is hard to make a case for any of them with zero evidence and as for John he had a guilt edged chance to own up when he commented on spector's results but never did.
