Like their name, K-pop girl group NewJeans are an atemporal classic. Despite debuting just one year ago — no teasers, no big announcements, only a delightful summer hit by the name of "Attention" — their carefully-crafted ID is both utterly cool and longingly comfortable. It’s as if they could fit anywhere, from early-aughts MTV to the most underground basement parties, but still deliver a twist. 

And while some might argue that being so fluid isn’t a compliment — no one is doing it like they do. Their recently released sophomore EP, Get Up, continues to prove that NewJeans are at the cutting edge of music, blending genres like U.K. garage and favela funk into something curiously progressive, but never unpleasant. The album sold almost 1.2 million copies within 24 hours, becoming the second-largest first-day figure for a Korean girl group in history.    

Formed by ADOR, a new label under HYBE (home to K-pop giants like BTS and TXT), the quintet range from 19 to 15 years old, but have reached senior prestige in the blink of an eye. Their eponymous debut EP and single album OMG both also sold over one million copies. They scored branding deals with juggernauts like McDonald's and Coca-Cola. They were featured in Time's Next Generation Leaders. And each of the members landed a high fashion ambassadorship, including with Gucci, Louis Vuitton, YSL, Chanel Korea and Dior. 

But behind all the glamour, Minji, Danielle, Hanni, Haerin, and Hyein are simply teens moved by their passion for music. Their lyrics and music videos depict real-life situations: boy troubles, the complexities of friendships, growing up surrounded by technology. Stripped back from K-pop’s usual overload, they look, sound, and move relatably for their age — an aspect that made their music stand out even more.

Get Up holds that trend. Its six tracks are short snippets of a dual world, depicting the highs and lows of growing up as a woman: sweet and bubbly in "Super Shy," or in "The Powerpuff Girls" collaboration "New Jeans," but haunting and restless in tracks like "Cool With You," or the frantic "ASAP."

The night before the release, NewJeans spoke with GRAMMY.com over Zoom from Seoul. Excitement is the core feeling as they eagerly answer each question. Sometimes, they fall into laughter, or into partial dancing — one arm slide here, one shoulder bump there. As Hanni says more than once, being NewJeans is "just so much fun."

Read on to know their thoughts on what makes their music so special, their rapid rise to fame, and still feeling like kids sometimes.

Congratulations on your new EP, Get Up. What were some of the challenges of preparing this record, compared to your debut EP?

Minji: As we prepared this EP, we tried to capture multiple genres, and that also applies to our performances. We tried out waacking and some contemporary moves, and vocally speaking, I think we tried to take on new challenges too.

In your first song, "New Jeans," you sing "Look it's a new me / Switched it up, who's this / All eyes on us NewJeans." What new sides of yourself were you able to discover in Get Up?

Hyein: Because we haven't even reached our first-year anniversary yet, I think we have much more to offer and show to our audience. I always thought about us as a group that is constantly striving to bring something fresh to the public, and I feel like this album really solidified my confidence and conviction about our identity.

Although you haven’t even celebrated your first anniversary yet, NewJeans have found incredible success from the get go, and reached milestones that other groups usually take years to get to. How do you manage the pressure of having "all eyes on you"?

Danielle: First of all, we're very, very flattered by all the accomplishments, but I feel like we're still beginners, and we try to have that mindset. I think it's important to stay calm and humble about it.

You recorded the music video for "Super Shy" in Lisbon, "Attention" and "Hype Boy" in Barcelona, and you also have upcoming performances at Chicago’s Lollapalooza, Tokyo’s Summer Sonic Festival, and Music Bank in Mexico. How does getting to know other parts of the world influence your work?

Hanni: It's definitely a wonderful opportunity that we're given a chance to film our music videos overseas, and now with Lollapalooza and Summer Sonic, they’re such big international festivals, we're really looking forward to it.

These types of schedules are very eye-opening experiences, and they give us the opportunity to learn different cultures, like, this is how this city looks like, and that city looks like. It just makes the work we’re doing more exciting. I've been so grateful.

The lyrics In "ETA" depict a very relatable conversation between friends. Do any of your songs feel particularly relatable to your life?

Haerin: I think there's something that we can relate to in every song we've had until now, but if I had to pick just one, it would be "Super Shy." I find myself relating to its lyrics a lot, and the duality between the lyrics and the choreography is quite fascinating, because the performance aspect of it is really dynamic and powerful. And yeah, again, I do relate to those lyrics. [Laughs]

A very important question: why is "Get Up" only 36 seconds?

Haerin: Because it's an interlude track, first and foremost. And if you were to look at the order of songs on this EP, "Get Up" is sitting right in the middle of two tracks, so I think that positioning has the job of bringing the entire EP together.

We need more, because that song is so good! Also, "Cool With You" shows a more mature side of NewJeans. When you think of the other members, in what other ways have you noticed their growth?

Hyein: I am the youngest one in the group, so it feels a bit weird to be commenting on the other members. [Laughs]

Minji: No, it’s not. [Pats Hyein’s shoulder]

Hyein: But if I were to speak for the entire group, I think that the type of feedback that we exchange amongst one another has gotten much more specific and detailed, and we are quicker to understand that feedback and apply it to what we do. We have three title tracks in this EP, and each song has a different genre of choreography, so when we were practicing, we had to really focus on putting ourselves in a different mood for each.

This EP talks a lot about time and the timing of certain things, as in "ASAP" and "ETA." You're teenagers now, but do you feel like grown ups? Or do you still feel like kids sometimes?

Danielle: When I was younger, I was always like, "I wanna be older, and I want to be more mature." [Laughs] But now I feel like growth comes naturally when you enjoy the present as much as you can.

Being with the members makes me feel like I'm still a kid sometimes. When I look at myself in music videos from a year ago, I look much different than how I look now, and so I think it's about your mindset, your environment, and who you're around with in the present. The boundaries between kids, teenagers, and adults, I don't feel they are that important.

Minji: I definitely agree. It’s not that important.

Hanni: And we have such wonderful staff members who help us enjoy everything even more. So whether we’re more mature or kids, I think just being able to enjoy it is the most important.

Danielle: Each of us have very different sides. It’s fun to get to know them.

Your songs are often minimalistic and delicate, which stands out in an industry where over-the-top tracks are quite popular. Is there strength in softness?

Haerin: We have a distinct style, but we also like to think that our style is very fluid, and that we are not putting ourselves in boxes. We’re always taking on new challenges and enjoying the ride; that’s what makes NewJeans.

Our music might sound minimalistic and delicate right now, but who knows what's coming in the future? I think that sort of uncertainty and mystery makes this journey more exciting.

As young women growing up in the entertainment industry, how do you balance your personal lives with your onstage personas? Is there a separation between the two?

Hanni: I don't think there is a very clear separation between the two, because music for us started out as a hobby, and soon it turned out into something we really enjoy, so it was very much molded in childhood.

I think we always try to focus on how we can be professional and how we can perform more enjoyable stages for everyone, and doing this is just a part of who we are. There is no line at all. We are silly as we are on and off camera anyways. [Laughs] It’s just lots of fun.

In Korea, you are celebrating the Year of the Rabbit — an animal that is sort of a motif to NewJeans and also the name of your fandom, Bunnies. 10 years from now, how do you think you will look back on this year?

Minji: Well, 10 years is many years down the line, but I do think that I will still be doing what I love. And if [future] me just looks back on me right now, I think she would just feel an immense amount of gratitude for our members, for all the hard work, and be proud of what we're doing.

What's Next For K-Pop? A Roundtable Unpacks The Genre's Past, Present And Future

Like so many New Music Fridays before it, July 21 brought a cornucopia of fresh and unique sounds from all over the map.

Want to hear Travis Scott, Bad Bunny and the Weeknd get mellow and psychedelic? Raring to hear the latest dispatch from a One Direction member? Want a taste of A$AP Rocky's long-awaited next album? Is a Britney-shaped chunk missing from your musical life? Want to hear the future of K-pop? 

To these and other questions, this slew of tunes will provide answers. In the below roundup, hurtle into the weekend with wildly divergent sounds from some of music's top acts — many with sizable GRAMMY legacies.

Travis Scott, Bad Bunny, The Weeknd — "K-POP"

A week before nine-time GRAMMY nominee Travis Scott's Utopia livestream event at the Pyramids of Giza in Egypt on July 28 — which will debut his new studio album of the same name — he dropped his sixth collaboration with four-time GRAMMY winner the Weeknd.

"K-POP," the album's lead single, is rounded out by three-time GRAMMY winner Bad Bunny, in his first collab with Scott. This triple-threat track has a stony, smoldering feel, with luxurious production from Boi-1da, among others — and it's elevated by its panoramic, transportive video.

ZAYN — "Love Like This"

The former One Direction member continues his solo legacy with "Love Like This," his first new single since 2021.

Therein, ZAYN extols the virtues of throwing caution to the wind when it comes to infatuation: "Everything is on the line, but I would rather be dead/If it's gonna mean a life that's lived without you, baby," he sings. "I think I gotta take that risk/ 'cause I cannot go back."

In the video, ZAYN putters around on a motorcycle on a gorgeous day. Previously signed to RCA, the singer recently moved to Mercury Records; could "Love Like This" be the ramp-up to a new album? If so, "Love Like This" offers a tantalizing taste of what's to come.

will.i.am, Britney Spears — "MIND YOUR BUSINESS"

After the termination of her conservatorship, GRAMMY winner Britney Spears dipped a toe back into her music career in 2022 with "Hold Me Closer," a duet with Elton John that includes elements of "Tiny Dancer," "The One" and "Don't Go Breaking My Heart."

Now, she's back in earnest with "MIND YOUR BUSINESS," a sassy, pulsing, electronic duet with seven-time GRAMMY winner will.i.am of Black Eyed Peas fame. The track marks the pair's fourth team-up, and first since 2014's "It Should Be Easy" from Spears' Brtiney Jean.

NewJeans — "ETA"

GRAMMY.com called NewJeans one of 10 K-Pop rookie girl groups to watch in 2023, and keeping ears on them has paid off. On July 21, they released their new EP, Get Up, to critical acclaim: NME declared that "​​no one can hold a candle to K-pop's rising wonder girls."

Concurrently with the release of Get Up, they released a joyous, iPhone-shot music video to its effervescent single, "ETA," in which a group of girls find a friend's boyfriend making moves on another lady.

Chris Stapleton — "White Horse"

Chris Stapleton's last album, 2020's Starting Over, helped the country crooner make a clean sweep at the 2022 GRAMMYs. At that ceremony, he won golden gramophones for Best Country Solo Performance ("You Should Probably Leave"), Best Country Song ("Cold") and Best Country Album ("Starting Over").

On Nov. 10, the eight-time GRAMMY winner will release his next LP, Higher. As he revealed the news on July 21, Stapleton also unveiled a majestic rocker of a single, "White Horse." "If you want a cowboy on a white horse/ Ridin' off into the sunset," he sings thunderously, "If that's the kinda love you wanna wait for/ Hold on tight, girl, I ain't there yet."

A$AP Rocky — "RIOT (Rowdy Pipe'n)"

For his latest track, A$AP Rocky dropped a stylish, charming short film for Beats depicting a harried diaper run (a fitting narrative for the new dad, soon to be dad of two, with partner Rihanna). That only contains a minute of the song, though; it's worth luxuriating in the whole thing.

To an uneasy, lumbering beat, Rocky extols a lifestyle to die for ("My wife is erotic/ I'm smokin' exotic/My whip is exotic") as well as his unparalleled connections ("I just call designers up, I free ninety-nine it").

Backed by 13-time GRAMMY winner Pharrell, "RIOT (Rowdy Pipe'n)" is said to be the first single from A$AP Rocky's long-awaited fourth album, Don't Be Dumb; if the quality of the track is any indication, it'll be worth the long haul.

Road To 'Barbie The Album': How Mark Ronson Dolled Up The Movie's Polished Pop Soundtrack

In 2022, K-pop was defined by women. From early spring hits like (G)I-dle’s "Tomboy" and IVE’s "Love Dive," to BLACKPINK topping the Billboard 200 albums chart and then embarking on the largest world tour for a K-pop girl group, there was no shortage of achievements or great music for K-pop's leading ladies.

Renowned names like TWICE, Mamamoo, ITZY and Red Velvet thrived with new releases, festival appearances, and international tours. Soloists made exciting comebacks — as with artists from BoA, Chung Ha, and Girls’ Generation’s Taeyeon — or through  long-awaited debuts, like former Iz*One members Chaeyeon and Yena, Red Velvet’s Seulgi, TWICE’s Nayeon, and many others.

2022 was also the year where legends such as Girls’ Generation, KARA and EXID returned after being inactive for years, instilling a breath of fresh hope in an industry where so few women thrive past their mid-20s. While these changes take time, hopefully their steps will open doors to a different future.

But among countless highlights and broken records, 2022’s crowning jewel has to be the solid collection of girl groups it debuted into the world. Each overflowing with potential and unique flair, GRAMMY.com rounded up 10 names — in order of debut — that are defining how K-pop will sound and look in 2023 and beyond.

Billlie

Debuting at the tail end of 2021, this septet from Mystic Story Entertainment built a peculiar niche right from the start. As it’s written on the cover of their first EP, the Billage of perception : chapter one, "we sing of the mysterious, hidden, and even dangerous B-side." Their lore features multiple dimensions in both real and dream worlds, but centers on figuring out what happened with a fictional girl named Billlie Love.

Much like their narrative, Billlie’s songs are marked by unusual titles ("M◐◑N palace" or "Mcguffins ~ Who's the Joker?" come to mind), quirky soundscapes, and eloquent performances. Early this year, main dancer Tsuki went viral for her fancam performing "GingaMingaYo (the strange world)" — which shows a small glimpse of how mesmerizing they can be.

IVE

Just five days shy of their first anniversary, IVE made history, winning a Daesang (grand prize) for Best Song of the Year at the 2022 MelOn Music Awards for their single "Love Dive." The achievement placed them as the third fastest girl group to win their first grand prize.

"Love Dive," which dominated South Korean charts for months, is a prime example of the "chaebol crush" concept that IVE crafted for themselves: girl crush, but with a hint of royalty. Hailing from Starship Entertainment, the six-member group — which includes Wonyoung and Yujin of Iz*One fame — was one of the biggest sensations of 2022, and are certainly ready to multiply that success in the following years.

Kep1er

Formed last year through Mnet’s survival show Girls Planet 999, Kep1er inaugurated 2022 with debut single "WA DA DA" on Jan. 3, 2022. Its nine members come from different backgrounds and countries (South Korea, China and Japan), but together they form a K-pop Megazord of sorts. Although their style is often bold and loud, their b-sides prove they can work with softer and sultrier styles just as well.

Kep1er is set to disband sometime in July 2024, but don’t cry — in addition to the bops yet to come, temporary groups in K-pop are often fundamental in shaping the next generation of idols (just look at how many former Iz*One members are mentioned on this list). That said, even if Kep1er’s sound isn't much to your taste, you’re better off learning the names of some of K-pop’s future leaders.

NMIXX

The latest girl group off JYP Entertainment — home to titans like TWICE and ITZY — NMIXX debuted in February 2022 with the divisive "O.O." Bringing together multiple tempo changes, soaring chants, rock guitars and a handful of onomatopoeias, the attention-grabbing tune challenged perceptions about what makes a good song.

They confidently call their sound "MIXXPOP," and repeated its profuse nature in September’s theatrical "Dice," to much commercial success. But for those who still aren’t convinced, the sextet has also proven versatility to spare in the unstoppable beats of "Tank," the sweet joy of "Funky Glitter Christmas," and in a show-stopping cover of Seventeen’s "Aju Nice" at KCON 2022 L.A.

LE SSERAFIM

"What you lookin’ at?" LE SSERAFIM ask in their polished debut "Fearless," but the truth is that it was hard not to look at them in 2022. They were the first girl group to debut under HYBE, the entertainment label of groups like BTS, TXT, and ENHYPEN. Adding to the expectation, popular names such as Sakura and Chaewon from Iz*One and Mnet’s "Produce 48" contestant Yunjin also figured in the lineup.

While the anticipation was high, there was no better group to weather these challenges. With a name composed by an anagram of the phrase "I'm fearless," LE SSERAFIM proved that their core is made of steel and flawless releases. If "Fearless" showed what they came for, October’s neo-perreo-influenced "Antifragile" consolidated the quintet as a bold, blazing force to be reckoned with.

CLASS:y

Another girl group formed through a survival show — MBC’s "My Teenage Girl" — CLASS:y debuted in May with the ambitious "Shut Down." The track steamrolls with classic Indian instruments and relentless tempo, proving that while CLASS:y might be lesser known than their peers, they are just as talented.

The full range of their skills is on display during live performances. Radiating confidence beyond their years, they tackle styles that range from Latin-inspired mid-tempos to bouncy bangers meant to stick in your mind for days.

NewJeans

For months, it was rumored that another girl group from HYBE would be debuting under the wings of their subsidiary label, ADOR. However, no one expected their debut to be as groundbreaking as it was. NewJeans dropped "Attention" out of the blue in late July — no teasers beforehand, no info about the members, nothing.

It worked. The release gained over 1.3 million YouTube views in less than 24 hours. Following suit came music videos for all three other tracks off their exquisite self-titled EP, including 2022’s darling summer hit, "Hype Boy." With impeccably chill vibes and an aesthetic filled with Y2K nostalgia, NewJeans were one of 2022’s biggest, most rewarding surprises.

CSR

Formed entirely by 17-year-olds, CSR debuted in the summer with a kind of sound that seemed to be forgotten in recent K-pop. Bringing back memories of groups like GFRIEND and Lovelyz, these rookies' sugary, synth-filled slice of pop effortlessly stood out.

CSR’s first single "Pop? Pop!" is layered with surprises and unfaltering hope — motifs that are repeated throughout their whimsical EP Sequence: 7272 — but it was November’s fizzy "♡TiCON" that got them their first music show win on KBS’s Music Bank, settling the group as ones to watch in 2023.

mimiirose

Although YES IM Entertainment is a newly established company, its CEO is none other than Im Chang-jung — a singer-songwriter and actor known in South Korea for being "the original multi-entertainer." That said, it makes sense why mimiirose left an impression right off the gate with September’s "Rose."

Boasting confident vocals over Middle Eastern-inspired chords, "Rose" offers a fair display of their charms, with special remarks to rapper and former Girls Planner 999 contestant Yoon Jia. The two other tracks off their single album Awesome don't disappoint either. With the tropical house of "Lululu" and the trickling synths of "Kill Me More," mimiirose are primed as self-assured performers with unyielding potential.

Fifty Fifty

Under newcomer label ATTRAKT, Fifty Fifty debuted on Nov. 18 with a strong first EP, The Fifty.

Throughout its four dazzling tracks, the quartet displays various colors and a vocal maturity that is both hard to find and crucial to have. "Tell Me" starts the journey in what could be the perfect indie movie soundtrack, moving swiftly to the synthpop of pre-release "Lovin’ Me" and title track "Higher." By the time that edgy closer "Log In" arrives, you are already sold on Fifty Fifty’s magical appeal.

A College Of Musical Knowledge: 15 Musical Groups That Act As Hubs For Emerging Talent

When Code Orange's Jami Morgan came to work with Steve Albini, he knew that he and the band had to be prepared. They knew what they wanted to do, in which order, and "it went as good as any process we've ever had — probably the best," he glowed.

And a big part of that was that Albini —  a legendary musician and creator of now-iconic indie, punk and alternative records —  didn't consider himself any sort of impresario. 

"The man wears a garbage man suit to work every day," Morgan previously told GRAMMY.com while promoting Code Orange's The Above. "It reminds him he's doing a trade… I f—ing loved him. I thought he was the greatest guy."

The masterful The Above was released in 2023, decades into Albini's astonishing legacy both onstage and in the studio. The twisted mastermind behind Big Black and Shellac, and man behind the board for innumerable off-center classics, Steve Albini passed away on the evening of May 7 following a heart attack suffered at his Chicago recording studio, the hallowed Electrical Audio. He was 61. The first Shellac album since 2014, To All Trains, is due May 17.

Albini stuck to his stubborn principles (especially in regard to the music industry), inimitable aesthetics and workaday self-perception until the end. Tributes highlighting his ethos, attitude and vision have been flowing in from all corners of the indie community. The revered label Secretly Canadian called Albini "a wizard who would hate being called a wizard, but who surely made magic."

David Grubbs of Gastr Del Sol called him "a brilliant, infinitely generous person, absolutely one-of-a-kind, and so inspiring to see him change over time and own up to things he outgrew" — meaning old, provocative statements and lyrics.

And mononymous bassist Stin of the bludgeoning noise rock band Chat Pile declared, "No singular artist's body of work has had an impact on me more than that of Steve Albini."

To wade through Albini's entire legacy, and discography, would take a lifetime — and happy hunting, as so much great indie, noise rock, punk, and so much more passed across his desk. Here are five of those albums.

Pixies - Surfer Rosa (1988)

Your mileage may vary on who lit the match for the alternative boom, but Pixies — and their debut Surfer Rosa — deserve a place in that debate. This quicksilver classic introduced us to a lot of Steve Albini's touchstones: capacious miking techniques; unadulterated, audio verite takes; serrated noise.

PJ Harvey - Rid of Me (1993)

Some of Albini's finest hours have resulted from carefully arranging the room, hitting record, and letting an artist stalk the studio like a caged animal.

It happened on Scout Niblett's This Fool Can Die Now; it happened on Laura Jane Grace's Stay Alive; and it most certainly happened on PJ Harvey's Rid of Me, which can be seen as a precedent for both. Let tunes like "Man-Size" take a shot at you; that scar won't heal anytime soon.

Nirvana - In Utero (1993)

Nirvana's unintended swan song in the studio was meant to burn the polished Nevermind in effigy.

And while Kurt Cobain was too much of a pop beautician to fully do that, In Utero is still one of the most bracing and unvarnished mainstream rock albums ever made. Dave Grohl's drum sound on "Scentless Apprentice" alone is a shot to your solar plexus.

"The thing that I was really charmed most by in the whole process was just hearing how good a job the band had done the first time around," Albini told GRAMMY.com upon In Utero's 20th anniversary remix and remastering. "What struck me the most about the [remastering and reissue] process was the fact that everybody was willing to go the full nine yards for quality."

Songs: Ohia - The Magnolia Electric Co. (2003)

When almost a dozen musicians packed into Electrical Audio to make The Magnolia Electric Co., the vibe was, well, electric — prolific singer/songwriter Jason Molina was on the verge of something earth-shaking.

It's up for debate as to whether the album they made was the final Songs: Ohia record, or the first by his following project, Magnolia Electric Co. — is a tempestuous, majestic, symbolism-heavy, Crazy Horse-scaled ride through Molina's troubled psyche.

Code Orange - The Above (2023)

A health issue kept Code Orange from touring behind The Above, which is a shame for many reasons. One is that they're a world-class live band. The other is that The Above consists of their most detailed and accomplished material to date.

The band's frontman Morgan and keyboardist Eric "Shade" Balderose produced The Above, which combines hardcore, metalcore and industrial rock with concision and vision. And by capturing their onstage fire like never before on record, Albini helped glue it all together.

"It was a match made in heaven," Morgan said. And Albini made ferocity, ugliness and transgression seem heavenly all the same.

11 Reasons Why 1993 Was Nirvana's Big Year

What is about the Beatles' Let it Be sessions that continues to bedevil diehards?

Even after their aperture was tremendously widened with Get Back — Peter Jackson's three-part, almost eight hour, 2021 doc — something's always been missing. Because it was meant as a corrective to a film that, well, most of us haven't seen in a long time — if at all.

That's Let it Be, the original 1970 documentary on those contested, pivotal, hot-and-cold sessions, directed by Michael Lindsay-Hogg. Much of the calcified lore around the Beatles' last stand comes not from the film itself, but what we think is in the film.

Let it Be does contain a couple of emotionally charged moments between maturing Beatles. The most famous one: George Harrison getting snippy with Paul McCartney over a guitar part, which might just be the most blown-out-of-proportion squabble in rock history.

But superfans smelled blood in the water: the film had to be a locus for the Beatles' untimely demise. To which the film's director, Michael Lindsay-Hogg, might say: did we see the same movie?

"Looking back from history's vantage point, it seems like everybody drank the bad batch of Kool-Aid," he tells GRAMMY.com. Lindsay-Hogg had just appeared at an NYC screening, and seemed as surprised by it as the fans: "Because the opinion that was first formed about the movie, you could not form on the actual movie we saw the other night."

He's correct. If you saw Get Back, Lindsay-Hogg is the babyfaced, cigar-puffing auteur seen throughout; today, at 84, his original vision has been reclaimed. On May 8, Disney+ unveiled a restored and refreshed version of the Let it Be film — a historical counterweight to Get Back. Temperamentally, though, it's right on the same wavelength, which is bound to surprise some Fabs disciples.

With the benefit of Peter Jackson's sound-polishing magic and Giles Martin's inspired remixes of performances, Let it Be offers a quieter, more muted, more atmospheric take on these sessions. (Think fewer goofy antics, and more tight, lingering shots of four of rock's most evocative faces.)

As you absorb the long-on-ice Let it Be, here are some lesser-known facts about this film, and the era of the Beatles it captures — with a little help from Lindsay-Hogg himself.

The Beatles Were Happy With The Let It Be Film

After Lindsay-Hogg showed the Beatles the final rough cut, he says they all went out to a jovial meal and drinks: "Nice food, collegial, pleasant, witty conversation, nice wine."

Afterward, they went downstairs to a discotheque for nightcaps. "Paul said he thought Let it Be was good. We'd all done a good job," Lindsay-Hogg remembers. "And Ringo and [wife] Maureen were jiving to the music until two in the morning."

"They had a really, really good time," he adds. "And you can see like [in the film], on their faces, their interactions — it was like it always was."

About "That" Fight: Neither Paul Nor George Made A Big Deal

At this point, Beatles fanatics can recite this Harrison-in-a-snit quote to McCartney: "I'll play, you know, whatever you want me to play, or I won't play at all if you don't want me to play. Whatever it is that will please you… I'll do it." (Yes, that's widely viewed among fans as a tremendous deal.)

If this was such a fissure, why did McCartney and Harrison allow it in the film? After all, they had say in the final cut, like the other Beatles.

"Nothing was going to be in the picture that they didn't want," Lindsay-Hogg asserts. "They never commented on that. They took that exchange as like many other exchanges they'd had over the years… but, of course, since they'd broken up a month before [the film's release], everyone was looking for little bits of sharp metal on the sand to think why they'd broken up."

About Ringo's "Not A Lot Of Joy" Comment…

Recently, Ringo Starr opined that there was "not a lot of joy" in the Let it Be film; Lindsay-Hogg says Starr framed it to him as "no joy."

Of course, that's Starr's prerogative. But it's not quite borne out by what we see — especially that merry scene where he and Harrison work out an early draft of Abbey Road's "Octopus's Garden."

"And Ringo's a combination of so pleased to be working on the song, pleased to be working with his friend, glad for the input," Lindsay-Hogg says. "He's a wonderful guy. I mean, he can think what he wants and I will always have greater affection for him.

"Let's see if he changes his mind by the time he's 100," he added mirthfully.

Lindsay-Hogg Thought It'd Never Be Released Again

"I went through many years of thinking, It's not going to come out," Lindsay-Hogg says. In this regard, he characterizes 25 or 30 years of his life as "solitary confinement," although he was "pushing for it, and educating for it."

"Then, suddenly, the sun comes out" — which may be thanks to Peter Jackson, and renewed interest via Get Back. "And someone opens the cell door, and Let it Be walks out."

Nobody Asked Him What The Sessions Were Like

All four Beatles, and many of their associates, have spoken their piece on Let it Be sessions — and journalists, authors, documentarians, and fans all have their own slant on them.

But what was this time like from Lindsay-Hogg's perspective? Incredibly, nobody ever thought to check. "You asked the one question which no one has asked," he says. "No one."

So, give us the vibe check. Were the Let it Be sessions ever remotely as tense as they've been described, since man landed on the moon? And to that, Lindsay-Hogg's response is a chuckle, and a resounding, "No, no, no."

The Beatles' Final Song: Giles Martin On The Second Life Of "Now And Then" & How The Fab Four Are "Still Breaking New Ground"