Let It Be/Get Back 50th Anniversary Releases! (Content and Sound Quality Discussion Only)!

Just saw these numbers: "The Beatles “Get back” Documentary trailer debuted with ~13 MILLION views across all platforms in it first 24hr:

Facebook : 5.9M
Twitter : 3M
YouTube : 2M
Instagram : 2M

It’s the second most viewed music documentary trailer in first 24hr after “miss Americana” by Taylor Swift."

Not bad for a band that broke up 50 years ago. (I think I've watched it 10 times myself.)

 

Favorite moment of the trailer (I know how crazy that sounds!!)...

Off camera (Paul I think?) - "What we're trying to do is get 14 good songs"
George - "Well... How many do we have so far?"
John - "None"

 

Attracts me like a cauliflower

 

Happy to see some others are a little disturbed with the scrubbing of the footage to the point where everyone looks like wax figures and even the silverface Fender amps looks utterly bizarre.

It's incredibly distracting and bizarre that whenever some old celluloid is touched, modern productions seems to think they have to be conformed and cleaned up to some modern standard.

Give me all the grain, give me the full frame, give me the highest detail possible. Super simple.

Nirvana Live At The Paramount did a great job of presenting the original film material, optional 16:9 crop or full frame.

I guess we'll look forward to getting the de-Jackson'd original quality footage in 20 years time...

I'll reserve full judgement until I've seen what is hopefully a grainy 4K representation on Disney+ but this doesn't bode well.

 

Regarding the comments already popping up regarding video and audio that don't synch up, get used to it.
Mathematically, it's impossible to avoid. Claims of 90 hours of audio tape vs. 56 hours of film support this fact. With only 2 cameras rolling, with loads of film no greater than 15-20m, there were many situations where there was no cameras rolling while audio recorders were. In hindsight, a 3rd or possibly 4th camera, strategically staggered in their roll times would have alleviated most if not all of this issue. But then of course, they had no idea that this was to eventually be released as a feature/documentary.

 

I am Team Grain-Free. Gluten-free Beatles, all the way!

 

I never knew they were going for 14 songs (to be peformed on their live concert). That fixed number of songs is new to me.

 

Not so sure about the "small circle", but anyway, frecuently they do know better. Just think about the bad bootleg transfers and similar stuff. Some people can be fans and still conserve their critical judgement. Others, well, they are mainly fans and take any critic as heresy...

 

I think it was more for the record that would be made alongside the show - they talk about making an album as well on the Nagras, I believe.

 

It's fascinating how close that actullay sounds to the final lyric. And John just thinks of it in a second.

 

I do sometimes wonder if some around here overestimate the resources available to the people who put these sets together. I think I recall Giles Martin saying that it was maybe 3 people who work on these remixes including himself, I don't remember the exact number. I also recall they had to get Love Me Do off of a 45 because they had lost the Master tape, and by the sounds of things that's because Paul lent it to Sue Johnston who taped over it. People like to say "Why didn't they use this bootleg that I have", maybe they don't have that bootleg or don't know about it, or have access to it.

 

You're comparing the Get back film to Michelangelo's Capella Sistina? What would A hard day's night be? Or Yellow submarine? Beatles fanatics are funny. It's good not to be too obsessive about these things. Or as John would say: It's just rock'n roll.

 

It's just a film ya'know, it doesn't really matter ya'know.

 

"George, do we need milk or just bread?"

 

Cool photo Glenn, thnx. Do you know where it's from? Can't believe half the stadium is empty...

 

Gotta be the answer. If you look at all these SDEs, we haven't been given the remix of the single or b-side unless it's already on another album (Penny Lane and Strawberry Fields were on the Pepper box but they are also on MMT, and NOT Past Masters). The rule seems to be, if it's unique to Past Masters and unavailable on a canon Beatles album, it doesn't get included in its era album's SDE.

One slight exception this time around is that the Let It Be single is a unique mix to the album version of the same recording (a detail that would be lost on most when buying Past Masters anyway). But in this case, Apple created the Let it Be EP to give us this unique version of the title track remixed and the MAJOR exception of throwing a bone with the b-side Don't Let Me Down, perhaps because the complete rooftop was nixed and Apple knew they had to add some kind of value in its place on disc 5, or perhaps Sean and Yoko asked for it to be included.

I think this is the exception that proves the rule though (and You Know My Name and the single version of Get Back are being held off for PM). And for a Revolver SDE I don't expect we'll be getting remixed masters of Paperback Writer and Rain (outtakes though hopefully). Those we'll have to wait for Past Masters to be remixed and reissued.

 

I know... right?? Looks like less than a thousand. Might have actually been able to hear them play above the screaming.

 

Obsessive ? Quite the opposite
I’d be obsessive if I were worried about the grain on the film, especially knowing that someone like Peter Jackson has been working on it for three years

 

Milan, Italy…June 24th, 1965

 

Can you imagine 13 million people shouting in disbelief
No Grain
Wrong colours
What have they done

 

I can count the number of people here proclaiming themselves to be experts on exactly zero fingers.

And I agree with others who have said the discussion is better suited for the other thread.

 

And Lennon is such a genius! (Sarcasm.)

 

Kind of coincides with the fact that when released in 1970, "Let It Be" had the highest number of preorders ever established for an album. (Not sure if that number has since been surpassed).
Not bad for a collection of compositions that many still feel are "substandard".

 

What me and a few others here have been saying is that people need to take 30 minutes out from their day and seek out the making of They Shall Not Grow Old and it shows the process which Jackson and his group do with documentary film. The National Museum in the UK entrusted him with some film that was over 100 years old, beat to awful condition, and he made it not only look new and vibrant, but took extra care and effort to add sound to bring it all to life.

He knows how to work with film, and criticizing the restoration work here by freezing one frame is a bit silly, IMO. Just wait for the documentary to be released and see how it looks then.

 

Im a little surprised there isn’t more discussion about the sound of the new mixes. Maybe I’m just one of the few awake who has listened to them.