“It was released last, but in truth, it was recorded before the Abbey Road album. I had just turned 20 when we did this. From a technical standpoint, it was fraught with trouble. The Beatles had this guy, Magic Alex, who was supposed to build all of this gear. I was sent in to sort out the mess.

“Two four-track consoles were sent down to Apple, and I was the operator who had to work the tape machines. This was after they had already been through a frustrating period of trying to get Magic Alex’s equipment to work. I walked into this basement studio, and there was John, Paul, George and Ringo, Linda Eastman, Yoko Ono, George Martin and Glyn Johns all looking at me with these strange expressions. You could tell that the band wasn’t feeling fulfilled by what was going on. It was a tense time.

“Nobody really knew what they wanted to do. Were they making a film or a live album? Paul definitely wanted it to be a live album. Some of the others didn’t agree with that notion, but as the Let It Be… Naked record shows, it really was a pretty good live album.

“I was just happy to be there. I was young and being paid to work with The Beatles – it doesn’t get much better than that. I didn’t make any judgements as to their attitudes at the time. Maybe they’re always down in the mouth – I didn’t really know.

“As for the Phil Spector mixes, I enjoyed some of them and didn’t like others. He has a style and a sound, and he extracted that out of Let It Be. I thought The Long And Winding Road was over-orchestrated, but on other things he did a great job. His version of the song Let It Be was a hell of a lot better than the original.”