For MPR Music, you're connected to all songs considered on Bob Boylin.

Today, a conversation with Giles Martin about the Beatles' last release studio album,

Let It Be, and his work on the just released Super Deluxe Edition. Let It Be is a complicated album,

originally intended as a simple way for the band to get back to its more rock-and-roll roots.

Let It Be was engineered by Glenn Johns, culminating in a rooftop concert,

but the album was shelved. This five-disc set produced by Giles Martin, Giles' son of producer George

Martin, though his dad didn't have a large role in this project. Giles and I have had the pleasure

to talk about his recent remixing of the Beatles album, Sergeant Pepper's Lonely Hearts,

called Band, The White Album, and Abbey Road. Giles was in his home outside London,

as in my apartment outside Washington, D.C. One of the impressions I've had about the Beatles'

Let It Be sessions is that they were contentious. In fact, the film that came out in 1970

showed some pretty dark moments, but that isn't the impression that he had after going through nearly

four weeks of recordings. I want to set the scene. It's the top of January 1969.

Beatles' double album was just finished and released just a few months before 30 songs.

They're going to write and record new songs for a TV documentary of sorts,

ending in a live performance. They had a tight deadline, a bit more than a month to do it,

but that seems absolutely insane. I think here, if there was an issue with what was the

Get Back project, it wasn't called Let It Be Then, was the sheer ambition behind it,

was the fact that they planned on doing a live album of tracks they were going to perform

with no idea where they were going to perform it, and also having no tracks written.

And not only that, but they were going to write them in front of a film crew.

I just like, you're going to measure a band now, any band, think of the band that were like that,

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