Beatles/Get Back Glyn Johns 28th May 1969 Mix & 5th January 1970 Mix

50 years ago, the Beatles’ get-back session, in which they completed the recording after many twists and turns, was reaching its final stage. As the days at Twickenham Studios, which were filmed from the rehearsal stage for the film, progressed, disagreements surfaced to the point that there was even talk of disbanding the group, and in the end, George’s departure forced the end of the Twickenham schedule. . From there, the reorganized Apple Studio evolved into an official recording venue, and it was a miracle that they were even able to perform on the Apple rooftop. Last week, we released the acetate of the rooftop live and the production stage of the unreleased album “GET BACK”, and the album itself of “GET BACK” has finally been released. This is an album with the unfortunate fate that two versions were made, but both ended up being shelved. In the 21st century, “LET IT BE…NAKED” was released, which was said to have inherited that concept, but depending on the song, it was the result of elaborate work such as multiple takes being patched together. It is an album created in 1999, and it becomes a completely different album, far removed from that “GET BACK”. Partly because of this, the value of this tragic album has not faded, and it can be called an unreleased Beatles sound source that continues to be loved by maniacs even now. As mentioned earlier, the group’s feuds surfaced from the production stage of this album, and after the recording was completed on January 31st, it was abandoned, which was an unprecedented treatment. Ta. Normally, I would be mixing for release while recording. I can’t help but feel as if the fate of “GET BACK” was decided at this point. Two months after all the recording was completed, the Beatles finally asked Glyn Johns to produce the album, and the acetate he created while working on it was last week’s “GET BACK WBCN ACETATE DEFINITIVE EDITION.” . Johns completed the album at the end of May and submitted it to the Beatles. This is the third acetate of “GET BACK” and the first completed album. Shortly before that, in order to push out the album’s concept of “return to origins”, a parody of the Beatles’ first album “PLEASE PLEASE ME” was devised for the cover, and a photo session was even held for that purpose. Since the album was completed, details were reported in fan club magazines, but in the end it was never released. However, as stated at the time of the release of “GET BACK WBCN ACETATE DEFINITIVE EDITION”, this third acetate of “GET BACK” will not be leaked immediately, but rather much later. Even albums like “KUM BACK” are now a thing of the past, and they only appeared in the mid-1970s when the mania market was exhausted by songs like “RENAISSANCE MINSTRELS VOLUME II.” That was “LET IT BE 315”, and it was praised by “Beatles Pirate Dictionary” as being the first complete recording of an unreleased album. WIZARDO, the label that released this album, got carried away after it became such a big hit that they remade the same album over and over again with different packaging. However, the problem lies within. Although the first “GET BACK” was certainly included, the opening “One After 909” was recorded at the end of side A. What was even more problematic was the rough sound quality, with a sense of loss of generation, as if it had been dubbed several times over a tape containing acetate, and above all, the strange instability of the gradually falling pitch, which affected the listening experience. It was incredibly stressful. Items from the “315” series are still often sold as second-hand items, as they have been released in various ways. If you’ve seen something scary and would like to listen to it, please look for it. The first completed version of “GET BACK” appeared at a decent value in the mid-80s, and not only was the acetate recorded in perfect condition and in the best condition, but the package was also a perfect parody cover. It was a reproduction. A few years later, an LP called “THE GET BACK MASTERS” appeared, and as the name suggests, it contains a tape sound source that does not go through acetate. After that, various items derived from these two sound sources of “GET BACK” continued to be released even in the CD era. The key is tape or acetate. Most of the items were released under the name “GET BACK”, and the former is the MASTERDISC with equalization that leans toward high frequencies, and the latter is the fluffy YELLOW DOG version that eliminates noise. Something like that. Afterwards, at the end of the century, unreleased Beatles material compiled by John Barrett, who was a staff member at EMI, was leaked. There were plenty of sound sources that I had never heard before, including the second “GET BACK” that Johns reworked. The album master he completed in May 1969 was shelved, and in its place a brand new work, “ABBEY ROAD,” appeared in the fall. After that, the second version of this album was finally completed in January 1970, when the tie-up movie (later “LET IT BE”) showed signs of completion. However, unlike in 1969, the Beatles were on the verge of disbanding, so they were shelved once again. What a tragic album. This time, the two types of “GET BACK” will be remastered from the tape sound source versions and coupled together. The 1969 version was included in VIGOTONE’s “THIRTY DAYS” box, and was highly praised by enthusiasts as “the best GET BACK in the history of tape sound sources.” Although there is some tape hiss, it is recorded with a close to natural sound, so based on that, phase correction/high frequency equalization was performed to create the best sound. 10 years ago, there was also “GET BACK” which was a remastered version of “THIRTY DAYS” and coupled with the 1970 version, but this time it has benefited from further advances in technology and is more comfortable to listen to. I made it into a version. Starting from “THE GET BACK MASTERS”, the tape sound source item of the 1969 version had a more or less crisp feel, but this time it has been relaxed all at once. On the other hand, the 1970 version is based on the “TRUE MASTERS” box, one of the titles that contained many John Barrett Tapes released from 1999 to 2000, and MasterJedi says “BARE IT ALL – VOLUMES 1&2”. Adopts the remastered version shown in the title. Although the sound source is from the same tape, this one is smoother and definitely has higher sound quality than the 1969 version in terms of totality. In the first place, the finish of the MasterJedi version was very nice, and the natural finish stood out, completely surpassing the 1970 version that had been released many times. If you are a beginner, it might be a good idea to ask here. The 1969 and 1970 versions not only have different recorded songs, but the left and right channels are reversed overall, and there are also mix differences such as reducing the number of redos of the intro for “For You Blue”. And the cut in “Save The Last Dance For Me” that occurred when the 1970 version was leaked (this was a “cut” rather than an “edit” after all) was carefully patched to the 1969 version, and it doesn’t look like it’s connected just by listening to it. The finish is so smooth that you won’t even notice it. Now you can listen to and compare versions of each generation without stress. Through such careful craftsmanship, the latest and definitive version of “GET BACK”, which has produced countless items until now, is now available. Glyn Johns 28th May 1969 Mix & 5th January 1970 Mix Disc 1(42:56) Glyn Johns 28th May 1969 Mix Get Back: Glyn Johns 3rd Mix AR14271/2 “GET BACK” STEREO LP Mastering Date: 28th May 1969 Olympic Studios – Stereo Mixing Producer and Engineer: Glyn Johns 1. One After 909 2. Rocker 3. Save The Last Dance For Me 4. Don’t Let Me Down 5. Dig A Pony 6. I’ve Got A Feeling 7. Get Back 8. For You Blue 9. 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) Disc 2(44:32) Glyn Johns 5th January 1970 Mix Get Back: Glyn Johns 4th Mix AR16991/2 “GET BACK” STEREO LP Mastering Date: 5th January 1970 Olympic Studios – Stereo Mixing Producer and Engineer: Glyn Johns 1. One After 909 2. Rocker 3. Save The Last Dance For Me 4. Don’t Let Me Down 5. Dig A Pony 6. I’ve Got A Feeling 7. Get Back 8. Let It Be 9. For You Blue 10. Two Of Us 11. Maggie Mae 12. Dig It 13 . The Long And Winding Road 14. I Me Mine 15. Across The Universe 16. Get Back (Reprise)