Description
The term “cancelled album” has an appealing ring to it, doesn’t it? Especially when it’s a Beatles album. Meanwhile, the inclusion of Get Back in the deluxe edition of Let It Be, which was finally released the other day, has caused astonishing sales for deluxe editions priced at over $150. However, it has been discovered that the sound source of Get Back included in the deluxe edition is the 1969 Get Back, a retouched version based on the 1970 version, and the “#GetBackProblem” has become a chaotic situation on social media. In light of this situation, we will be releasing two versions of the original 1969 version of Get Back (Glyn Johns 5/28 mix) at the same time. This Get Back Real Glyn Johns Mix uses the “Safety Master made at Olympic Studios” that was brought to the United States from the UK in the 1980s as the main source, and acetate record sources are used only for the supplementary parts, realizing the longest version release without compromising the sound quality. The main source is, of course, Disc 17 of Thirty Days. The liner notes for Thirty Days also state that the safety master tape was used. Of course, when the May 28, 1969 version of Get Back was produced by Glyn Johns at Olympic Studios in London, the original master tape was delivered to Apple. However, it seems that several safety masters were made, and there is a record that one of them was sold at the Camden Lock flea market in London, and another one was in the hands of a Japanese collector. Another one was in the hands of an American collector around 1980, and it seems that it was in the hands of Andrea (or Wizardo) (this tape is the original for Andrea’s version of Get Back). In Andrea’s memoirs, he says that he sold this tape to BAG (the label that produced the bootleg LP The Lost Lennon Tapes) when he went out of business, and we can assume that Disc 17, which Vigotone, which some members of BAG participated in, created as a bonus disc when Thirty Days was released, is based on this safety master that was sent to America (however, there are differences such as the length of the song Get Back being slightly longer on Thirty Days Disc 17, so this may not be the case). Thirty Days Disc 17 is slightly weaker in magnetism than the Andrea version released at the same time (which was cut from the safety master to a lacquer disc in 1983 or 1984), perhaps because it was digitized from tape in 2000, and therefore feels less fresh, but there is no room for the click noise peculiar to records, and it is a classic tape sound. Hiss noise is not noticeable during the songs (the power and freshness of the sound is so great). Our challenge was what source should be used to fill in the cut parts. Yellow Dog or DESS? (DESS also has cuts, and as mentioned above, it is also a shaped disc). Or should I go for the acetate source classic analog Tonto LP? The early CD produced by Disques Du Monde solved that dilemma. The jacket was a reduced copy of Tonto, so I thought the contents would be Tonto needle drop, but when I played it, I got the impression that it might be a direct acetate drop. Also, Disques Du Monde is said to be the later Yellow Dog, and I speculated that it was very likely that Get Back, released by Yellow Dog, was made by de-clicking the same acetate direct drop source to make it look like a tape source (I’m really sorry if that wasn’t the case). In fact, this supplement worked, and the longest and most realistic 1969 version ever was completed. (Get Back, released by Purple Chick in 2012, also mainly uses Thirty Days Disc 17, but Yellow Dog uses declick to fill in the cut parts, which I think is why some people feel the difference in sound quality.) The bonus includes I Me Mine and Across The Universe, which unfortunately had noise on the official deluxe release, from the 1970 version of Get Back (recorded from John Barretts’ Cassette Dubs). In summary, there are many 1969 Get Back releases currently available. In particular, the cut parts of the recent releases have been accurately corrected, and the sound quality seems to be very wonderful so as not to damage the natural state of the original sound. The concept of this work is to reproduce the longest version with an analog sound source close to the original sound. Here again, the safety master that Andrea would have owned for a time when he went to the United States played an active role. Made from analog sources master. Completely full version (Tape Source mainly, Acetate Source for missing parts) Based on the safety master of Get Back that was sent to the US in the 1980s, the “real 1969 version of Get Back” is supplemented with missing parts using acetate sound sources. No equalization or noise reduction, dense sound and the longest version. “GLYN JOHNS 1969/5/28 Mix” 01. One After 909 02. Rocker 03. Save The Last Dance For Me 04. Don’t Let Me Down 05. Dig A Pony 06. I’ve Got A Feeling 07. Get Back 08. For You Blue 09. Teddy Boy 10. Two Of Us 11. Maggie Mae 12. Dig It 13. Let It Be 14. The Long And Winding Road 15. Get Back (Reprise) “GLYN JOHNS 1970 Mix” 16.I Me Mine 17.Across The Universe
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