Beatles Get Back Masters form Andrea

The term “cancelled album” has an appealing ring to it, especially when it’s by The Beatles. 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 hot topic on social media, creating a chaotic situation. 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. The release of this Andrea version of Get Back has been a project that has been in the works for quite some time. It all started when the 1969 version of Get Back on the prestigious masterdisc and the DESS (Dr. Ebbetts) version, famous for its high sound quality, was actually released using the technique known as the retouched version. In the world of software, fine-tuning and mastering have become commonplace, but I had doubts about the 1970 version being mixed and becoming the standard for the 1969 version. “Which title is the genuine 1969 version of Get Back with good sound quality, one that has not been touched by a third party in later years?” As a result, I arrived at the Andrea version of Get Back. For details, please refer to the liner notes on the cool 7-inch picture sleeve, so I will briefly talk about something else here. Andrea was a female bootlegger based in California called Vicki’s Vinyl, and was a friend of John, the owner of Wizardo Records (although they were not lovers). After many twists and turns, from around the 1980s, Andrea came to the forefront and John worked behind the scenes. It seems that Andrea directly sold the masterpieces File Under and Black Album to Japan. However, in 1984, it became difficult for Andrea to cut records in the United States (I remember this story being written in Not A Second Time, a booklet published by a Beatles specialty store at the time), and to make matters worse, sales slumped when analog bootlegs made in Europe, especially in the Netherlands, began to use color jackets. In the midst of this predicament, the 1969 version of Get Back was offered to Japan for wholesale, and this is the Get Back Masters from Andrea that has been released this time. This title was the first tape source, the correct track order, and the freshness of the sound, as well as the extremely dense and high-quality sound, but because it had a traditional cover (apparently a title stamp was affixed to a photocopy of a color photo that was out of focus), it never ended up on the shelves of Japanese import record shops or collectors’ shops. It was one step away from being released, but then it was canceled, following the path of the real Get Back. This time, it was ripped from a “prototype disc distributed as a sample by Andrea” owned by the writer of the liner notes. I can’t put into words how loud and dense it is. However, you can tell right away from the first track, One After 909, by Ringo’s drums. With this level of sound, the slight click noise and hiss noise are not a concern. As for the latter half of Let It Be and The Long And Winding Road, the inner circumference distortion peculiar to analog and the compression at the time of cutting give it an exquisite taste, and I am impressed that the reel tape made in 1969 has been opened for the first time in 15 years and is emitting light. Billy Preston’s organ play, Paul’s vocals, George’s guitar solo, John’s chat, all of them are really moving and may be what gives you goosebumps. There are only three flaws. The MC before One After 909 is short, the outro of Get Back is a little short, and the MC between For You Blue and Teddy Boy is cut. However, I did not dare to make any corrections. I thought it would be disrespectful to Andrea to make such corrections to this title. This time, we have also included an acetate version of Get Back/Don’t Let Me Down made by American Capital as a bonus track. This stereo acetate version was produced by Capital for the first Beatles stereo single release in the United States, with only 30 copies produced. In the end, this was the only single produced by Glyn Johns that saw the light of day at the time, so please listen to the thick stereo sound of this one too! Since that’s all, we have reproduced the 7-inch single-sized jacket with the Japanese version of Meet The Beatles as a reprint of Get Back by Andrea for Japanese fans. We also produced a half-length obi. In addition, the CD surface features Andrea’s handwritten bootleg wholesale letter from the 1980s, making this an elaborate work. A great sound source deserves a binding that matches it. It seems that we can finally repay Andrea, who went out of business after 1984. Despite its best sound quality, the phantom “Andrea version of Get Back (for export to Japan)” that was pushed out of the market by European analog bootlegs is revived here after 37 years! The 1969 version of Get Back (Glyn Johns 5/28 Mix) is the freshest and most dense sound ever. “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) “US Stereo Acetate Disc” 16.Get Back 17.Don’t Let Me Down