A Lennonology Exclusive - For You Blues (Exclusive Content On The Japanese Let It Be SDE)

In terms of EQ, the Japanese "darker" sounding transfer of Get Back seems to be flat with no EQ tinkering done to it.
The track "Get Back" matches in sound to the same song version on Past Masters (1988 disc), whereas on the more common edited transfer it has quite a significant trebble boost.

 

Well good. It needed it. Matches the theory that the one Glyns approved and worked on for this set, is the international set, since there would be nothing for him to do on the Japanese, that’s just a flat transfer of the 69 master.

 

Yeah! Dozens! LOTS of dozens!

Don’t mess with us.

 

I *thought* the Glyn Johns 'Get Back' 2021 was missing something! My brain is looking for that low pitched whistle!

ha, "Don't feed the trolls, man!"

Yes, the mono 'Rubber Soul' was accidentally folded down on the first pressing.

LOL, on your old Yellow Dog boot!

 

Universal Music in Japan received the correct master for disc 4 (GLYN JOHNS 1969 MIX) and this is available in the Super Deluxe Edition SHM LET IT BE 50th ANNIVERSARY edition. The European version that we will now call “REST OF THE WORLD” (ROW) is not what has been described, but uses a combination and several edits on many of the tracks with the Glyn Johns’ 1969 and 1970 mixes, possibly thinking that presenting a superior sound quality was a better choice, even though the mixes were not right ones. Making mistakes about which version of a song to release is not new to The Beatles’ catalogue. Several years ago Apple used incorrect mixes in the official Beatles discography, as in CAPITOL ALBUMS VOL. 2 and the “Love Me Do” Anniversary vinyl single, both of which were withdrawn and replaced with the correct mixes; we do not know if the same will happen with LET IT BE 50th, or if the Japanese boxes will now be the most sought after by collectors, but this could be the first time that the same official release has a completely different disk at the same time but in different markets.
There are very noticeable differences in each mix, not only in speed but in prominence of some instruments or a different vocal in one track. Here is a quick analysis comparing the JAPANESE and EUROPEAN versions of the Deluxe box of Let It Be, DISC 4, released last week, using software to play both versions at the same time.

Wrong Masters for the ‘Glyn Johns 1969 Mix’, and Japan to the rescue.

 

I think this assessment is wrong. Since there was no work done on the japanese version except flat transfer, whereas we know Glyns put work into this, the edited and remastered ROW version must be the one approved and worked on by Glyns.

 

I think that Apple would say that Japan got the 'incorrect master', i.e not the one that Apple have approved for final release. Even though it's a straight copy of the 1969 tape rather than their approved Frankenstein of the 1969 and 1970 tapes.

 

Don't forget the feedback on "Teddy Boy" - RIP.

 

True, but apart from that, it’s clear to me where the bulk of work went.

 

Yosi- From your comparison of both versions of the Get Back disc(Japan SHM) and the rest of the world. Is there a version that you feel just sounds better to your ears? I know the Japan version is the more authentic version but do you feel it’s sounds better too?

 

1969 tape transfer doesn't nessesarily mean the MASTER-tape though.
The transfer on the japanese disc sounds so hissy in quiet parts... it must have been a copy tape IMHO.
The master probably went bust went Glyn worked on the revised 1970 mix.

 

Since I passed up on the SDE, I think I will acquire the JPN import.

 

Yes, one could say that the ROW master reflects what Glyn Johns / Apple have belatedly and finally approved for release, while the Japan / SHM master may be historically correct, but from an inferior source. Including the '70 overdubs to FYB and eliminating the feedback on Teddy Boy would seem to be Johns' final prep for the "ultimate" release of Get Back.

Ultimate, that is, in the sense of "being or happening at the end of a process; final" rather than "best achievable".

And re speed, do we know which is “correct”, SHM slower or ROW faster?

 

the feedback is also missing on the japanese set. Where did it even originate from ? Maybe that was just a poor bootleg everybody is refferencing.

 

Wandering off at a slight tangent: I've lined up the "acetate 3" version of Don't Let Me Down with the released version to correct the glitch at the beginning (where John says "big") and... I can't find it. The official set sounds (and looks) identical to the booted acetate. Am I missing something?

 

There's a tape burp of some kind - listen to the background behind John's voice. It's constant on the original, interrupted momentarily on the 2021.

 

So the version of Get Back in the European CD And Vinyl set has a mixture of 69 and 70 mixes, I’m happy with that, reading the description of differences it’s very minor, like the correct speed between them , I don’t care if it’s a slightly different speed or more or less hiss on different versions, the version in the LP set is my go to as I hadn’t heard the bootlegs anyway. It actually said in Mikes description that the 70 mix was much better sound so that’s great ! as long as some of the 69 mixes on there it’s all good for me with it being called that.

 

OK - questions for @Mike Carrera, @slane or anyone else who has heard the SHM version.

Given that it is described as darker or duller, is it an improvement over the best versions that came out in the ‘90’s, or similar?

And, given the speed differences that MC as noted (thank you Mike!), does it seem the ROW was mastered faster as a creative choice?

What i’m getting at is, aside from historical accuracy, how does it sound? An improvement over what we have had?

 

I think the SHM sounds pretty darn good. Yes, it has that darker, less bright tone that was part of Johns' mixing choices, but it's got more edge and crunch to it now that the bootleg gunk is gone IMO. More clarity. Other than lacking the historical feedback in Teddy Boy, I think it's the definitive issue of the 69 mix. I haven't gone back to really listen to the speed differences on the ROW version, but I don't think it was necessarily done as a creative choice. Maybe just a result of cleaning it up and eq-ing and working with it.

 

Deluxe sold out at CD Japan.

 

Are there also differences between the Japanese and European boxes regarding the track I me mine on the EP ?

 

I believe @mikecarrera said Disc 5 is identical to the ROW edition, sadly.

 

For those - including myself - who don't know what DISQUE AMERIC is
Rubber Soul - Disque Americ

 

It's much better than any previous bootleg of the 1969 album that I've heard.

As for the speed differences, they are very subtle from what I've compared so far, certainly within the parameters you would expect from different masterings using different tapes.

If my theory is correct that Glyn spliced his 1969 masters into the 1970 master tape, and that the complete 1969 version only existed as a copy tape thereafter, then I suppose the '1970 versions' (which is what the regular disc is mostly made from) might be considered more accurate speed-wise than the 1969 copy tape, but the difference is too small to care.

The darker/duller sound (one might say 'warmer') doesn't bother me at all. The glitches and changes in sources on the regular version do. I find the Japan version to be a better (and historically accurate) listening experience all in all.