Paul McCartney/Get Back Speed Corrected Edition

Until now, we have continued to release the best sound sources related to the Beatles’ phantom album “GET BACK”, and we will release “GET BACK” again. However, they are not the Beatles. This time it’s Paul’s “GET BACK”. picture? Of course you would think so. Yes, “GET BACK” is a movie that captures the world tour from 1989 to 1990. “Isn’t that unusual or something?” Although the movie software itself is currently out of print, it can be easily viewed (obtained). However, this movie had a major flaw. It is said that the performance was performed at a lower speed, that is, the pitch was lowered and released. Musical movies often suffer from pitch errors due to problems with the film speed during shooting or technical problems when transferring from film to video. For example, in the Beatles’ “A HARD DAY’S NIGHT,” the pitch dropped during the performance scene, making it uncomfortable, and in the Rolling Stones’ live movie, “LET’S SPEND THE NIGHT TOGETHER,” the pitch remained raised during the video. There is also a phenomenon of transformation. In the era of movie screenings and VHS, pitch errors in film images were quite common, but in fact, even recently there are some films that have been released without being corrected, such as Blind Faith’s Hyde Park DVD and David Bowie’s ” Life On Mars?” MVs were both released with the pitch lowered by almost a semitone. Amidst this phenomenon, Paul’s movie “GET BACK” also continued to be released with the pitch lowered, and even in this era of Blu-ray, it remained perfunctory. For example, you might not notice it during “Put It There” because it is accompanied by a video, but when it comes to the up-tempo “Coming Up”, the low pitch makes the song feel strange. Although the image quality of the 1990 tour is rough, in addition to the fact that you can see professional shots of the live full-length version at Rio and the leaked video of the Japanese performance, it is also a movie that tends to be overlooked among enthusiasts due to the unnaturalness due to pitch problems. I can’t help but think that there is. The fact that songs such as “Figure Of Eight” and “My Brave Face,” which symbolized this world tour, were boldly cut out was a big factor, and the recording time was about 70% of the actual live performance. The problem with the low pitch was due to the technical circumstances in which film was normally shot at 24 frames per second, but this film was shot at 25 frames per second. This time, we adjusted the pitch, which had dropped by a semitone, based on the 2012 HD remastered version, which currently has the best image quality. Of course, the correction is not done by force, but is done using software that specializes in correcting the pitch of images, so there is no need to stress about the image becoming jittery. First of all, it is revolutionary that the pitch has been adjusted in relation to the video, but the movie “GET BACK” that can be seen with the pitch that has become more accurate is already overwhelmingly enjoyable. It goes without saying, but since it’s a long movie, you want to see and hear the performance at the correct pitch. Once again, the accurate pitch is so shocking that it even seems fresh in itself. Now, when I watch the movie “GET BACK” again, I am surprised that all the know-how gained from Wings’ unreleased live movie “THE BRUCE MCMOUSE SHOW” released last year has been utilized in “GET BACK.” That’s it. Editing in which images from multiple stages intersect in one song, close-ups of performances and members, etc. were additionally recorded in the studio, and audio overdubbing, etc., were compiled into a movie better than in “THE BRUCE”. are. When this movie was released at the time, genuine live footage of Rio and Tokyo Dome was already on the market, so I had the impression that it was finished like a movie, for better or worse. It’s interesting to see it now. Editing that combines multiple stage images in one song is incorporated in most performance scenes, but in particular, “Got To Get You Into My Life” has a completely different fashion between the 1989 arena tour and 1990. The overlapping performance scenes from the stadium tour remind me of “THE BRUCE”, and at the same time, I laugh at the sense of incongruity. Basically, it seems that footage from the American tour is used the most, but unlike the live album “TRIPPING THE LIVE FANTASTIC”, which was compiled without any tricks at the time of release, this one has additional audio and video like a movie. Recording took place. Throughout the movie, there are scenes and members’ expressions that are clearly conscious of the camera, but most of these were shot at Elstree Studios. This is a procedure to create deep close-ups that cannot be seen in a live performance, and this is also an evolution of the method used in “THE BRUCE MCMOUSE SHOW”. Among them, the appearance of Paul stopping playing the guitar and having fun during the jam part of “Sgt. Pepper’s Lonely Hearts Club Band” is an action that would never be seen in a live performance, and the sound of that scene also smells like a joke (lol). Or Linda, who sings so passionately with Paul in the finale, that the feeling of overdubbing and shooting mode are exposed. I also think that the sense of inserting historical footage from the past in some of the songs is an extension of the editing cultivated in “Wild Life” from “THE BRUCE”. Even in the actual live performance, it is essential that King’s footage appears in “The Fool On The Hill” where Dr. King’s speech was played at the end, and “The Long And Winding Road” is entirely footage of the Vietnam War. It was full. This seems to be the result of exchanging ideas with director Richard Lester. By the way, the additional filming of the stage footage was done at Elstree Studios, which Paul had liked since his days with Wings, and the audio overdubbing was done at Twickenham Studios (which had a connection to the 1969 Get Back session). It was done. There’s also a miracle edit in which the guitar played by Robbie McIntosh suddenly switches from a Gibson 335 to a Stratocaster in the interlude of “Back In The U.S.S.R.” (lol), and the encore “Yesterday” is arranged in a raised key unique to 1989. (In other words, the same as the Beatles era) There are plenty of things to see and see, such as being seen playing and singing. This week, nearly 30 years have passed since the performance in Japan in 1990, and many Japanese people can be seen in the shots of the audience. Including such fun, you can finally enjoy it at an accurate pitch. It’s natural that the image quality is the best because it’s the original, but even enthusiasts never expected that the best version of the movie “GET BACK” would be released now. (85:35) 1. Intro. 2. Band On The Run 3. Got To Get You Into My Life 4. Rough Ride 5. The Long And Winding Road 6. The Fool On The Hill 7. Sgt. Pepper’s Lonely Hearts Club Band 8. Good Day Sunshine 9. I Saw Her Standing There 10. Put It There 11. Eleanor Rigby 12. Back In The U.S.S.R. 13. This One 14. Can’t Buy Me Love 15. Coming Up 16. Let It Be 17 . Live And Let Die 18. Hey Jude 19. Yesterday 20. Get Back 21. Golden Slumbers 22. Carry That Weight 23. The End 24. Birthday (End Credits) PRO-SHOT COLOR NTSC Approx. 86min.