In Billy’s Band

Billy Preston’s involvement with The Beatles during the 1969 "Get Back" sessions marked a turning point not only in the band’s dynamic but also in his own career trajectory. Known for his exceptional keyboard skills, Preston was brought into the sessions when The Beatles sought a proficient player for the Fender Rhodes electric piano, a relatively new instrument at the time. His arrival shifted the atmosphere from tension toward camaraderie, rekindling the group’s collaborative spirit as captured in Peter Jackson’s 2021 documentary, Get Back.

Preston’s distinctive playing style, blending gospel-infused blues with rock sensibilities, became integral to several tracks, including "I’ve Got a Feeling," "Get Back," and "Don’t Let Me Down." His spontaneous riffs and sensitive solos enriched the songs, earning him the rare credit of “The Beatles with Billy Preston” on the single release of "Get Back," a unique distinction not granted to any other collaborator. Beyond the music, Preston’s presence fostered laughter and storytelling among the band members, temporarily alleviating longstanding interpersonal strains.

Prior to this collaboration, Preston had already established himself as a prodigious talent steeped in gospel tradition. Born in 1946 and raised in Los Angeles, he was immersed in church music from an early age, accompanying choirs by the time he was six. His early career involved touring with Little Richard and working alongside influential figures like Ray Charles and Sam Cooke, which positioned him at the intersection of gospel, soul, and rock music.

Preston’s versatility and keen musical intuition earned him a reputation as a sought-after sideman. He contributed to recordings by major acts across the spectrum, including the Rolling Stones, with whom he worked on landmark albums like Sticky Fingers and Exile on Main Street. His creative input extended beyond accompaniment; for example, the iconic bass line on the Stones’ 1978 hit "Miss You" originated from Preston.

Signed to The Beatles’ Apple label after the Get Back sessions, Preston pursued a solo career highlighted by the 1969 hit "That’s the Way God Planned It," produced by George Harrison. His solo work during the 1970s combined elements of gospel, funk, and pop, aligning him with contemporaries like Stevie Wonder and Marvin Gaye who were advancing Black musical expression and social consciousness.

Despite his artistic successes, Preston’s later life was marred by struggles with substance abuse, legal issues, and personal turmoil. These challenges, alongside the pressures of navigating the music industry as a Black queer artist in a conservative era, contributed to a decline in his career and health. His openness about his sexuality came late in life, and accounts suggest he concealed significant personal pain for decades.

Documentaries such as Billy Preston: That’s the Way God Planned It have begun to illuminate the complexities behind his public persona, exploring both his musical genius and the societal obstacles he faced. The film underscores Preston’s unique ability to anticipate and enhance musical arrangements, a quality that made him a linchpin in various influential projects.

Billy Preston passed away in 2006 from kidney disease and pericarditis, leaving behind a legacy of artistic innovation and boundary-crossing collaborations. His story reflects not only the achievements of a gifted musician but also the often overlooked narratives of queer Black artists who shaped popular music. As historical perspectives broaden, Preston’s contributions continue to gain recognition, affirming his rightful place in the pantheon of modern music pioneers.