Beatles - Get Back new book

The way all three were packaged so differently to one another is baffling, and a big shame I think.

 

I don't know that I've seen anything that has been said to indicate Paul and Ringo are "fully involved". I think there's a pretty large gap between authorized and fully involved. Apple authorizes lots of stuff, but I don't think that include either of them picking fonts for t-shirts and colors. It's my guess they never see most of the things Apple give a thumbs up to.
Even with the deluxe sets, the involvement is probably limited to a listen towards the end and for Giles et al and an approval. I seem to remember though a story by Giles of Paul not being enough wowed by the White Album mix and Giles & Co giving a second go at it. I think involvement is probably limited to first refusal rights. I'd honestly love it to see both of them in the studio with Giles, listening to
take after take and saying here and there..."oh, you've got to put that bit in!"
One of my favorite pieces of film, is a long haired, post-Beatles, George watching with a small group
of folks, a video of them performing "This Boy" and he's loving it, the look on his face seems to be pure joy.

 

I also don't think that there has ever been a good explanation for why the box set version with the book was not initially printed for the USA as well. You'd figure that the USA market would be the most lucrative, and the extra price charged for the box edition would have certainly pleased Allen Klein, who was handling things at the time.

 

It was released in Canada, But was it manufactured there? Any idea which other countries had a release and was it manufactured in any of those countries? Perhaps it was cost effective to manufacture in just one country and ship. My box was sold long ago, but was the U.K. Book printed in the U.K. ?
The largest part of the price of printing something, is in the initial set up. I could see where simply shipping is cheaper than setting up to print in xx amount of countries.
It's becoming obvious to me, the Let It Be box is the one LP released that I know the least about.

 

If I had to guess, it’ll probably wind up coming down to the record label ( in this case Capitol/UA) just being cheap. You would think after all the Beatles success that they wouldn’t care but then you read stuff like EMI trying their hardest to resist the request to release Strawberry Fields in a picture sleeve and only grudgingly agreeing , albeit after reaching the compromise for a only the first 250,000 copies . So I guess no matter who you are or how big the label is going to try to pinch pennies.

 

But in the UK at least, and I presume elsewhere, they charged more for the box set as opposed to just a regular-sleeved LP. So they recouped the extra expense of a box very easily. So it doesn't make sense to me.

In the case of the SFF/Penny Lane sleeve, the picture sleeve cost more money to manufacture, but the selling price of the 45 single remained the same. So here EMI would lose a bit of money compared to a generic sleeve.

 

The books were all printed in England.

SEE:

Let It Be box set

 

Mine has actually. I treat it very well though! I also actually bought it second hand without the record/box. Must dig it out, it is a long time since I checked it out.

 

To me neither.

As for what I stressed in bold, both my wife's copy and mine cost CA$10 in 1970. Strange because she lived in Montreal, where sales abounded, and I was deep in the sticks, where regular Apple releases like "Abbey Road" cost CA$7.29, since Klein took over!

 

Thanks! Lots of questions answered. Still left unresolved is why the USA was out of the loop.

 

I'm thinking PERHAPS the answer may lie in the extent to which the leaked "Get Back" album got broadcast in the USA, then bootlegged accordingly in 1969? Then the record company might have thought the American fans will never pay 10 dollars or something for a deluxe rehashing of an "old" album (I know it ain't really the same album - I'm just trying out for some lights here.)

 

No-one’s yet mentioned this splendid book, which, in its earliest incarnation, gave many of us our first inkling of what really went on (and what was played, and when) during the sessions:

 

Yes, but interesting that, for such a deluxe book (beautifully-printed tho horribly-bound), it was only a couple of bucks difference in price. I don't recall exactly what i paid upon release in 1970, but pretty sure it was well under $10 shipped to US. Back then a buck was kind of a big deal, as Abkco negotiated for new royalties and Capitol created a new pricing tier for Abbey Road, at a dollar more than routine new releases.

 

If you liked the movie, you'll love the book.

'Commencing countdown, engines on...':

 

50 YEARS LATER.........Hoepfully it is this plus more!

 

I've still got the original book - and it's not falling apart. I didn't cut it up but I did throw out the box it came in. I thought it was a piece of useless packaging. Doh!

 

I'm with you. It was called a "New phase" beatles album on the sleeve, which to me refers to: that they were breaking up (no sgt peppers here) , it was an older project out of sequence, and it had been bootlegged a lot. Three strikes and you aren't going to put out the full banana split. I bet Klein was very happy to clean up in the US without an ornate package or a high price point.

 

I think it is very important to remember that in the USA, United Artists (UA) had the rights to distribute the soundtrack album in the USA.

Throughout the rest the rest of the world, EMI had the distribution rights, so they were set to see much more of the profit from whatever package they assembled.

In the USA, why would Capitol invest in a deluxe package in which UA took such a large cut?

 

This book, any version actually, is downright indispensable – No other book has provided such comprehensive coverage of just what went (the good, the bad, and the ugly) on for those 30 days. A lot of myths are disproved here.

 

Not recalling how UA had priced LET IT BE, but remember that Capitol had just introduced a new premium pricing tier for ABBEY ROAD (and HEY JUDE a bit later) as indicated by prefix "SO".

 

Paul is a such a charmer that John, George and Ringo line up and willingly take his firm direction. Group hugs. Love.

 

This is one of the biggest myths about these sessions... Most folks get the impression of these sessions from a Lennon interview in which he is looking for any reason to give why the Get Back sessions were so dismal... He hides behind the "early start time" and the "cold soundstage" instead of focusing on his disinterest from the get-go, his complete lack of any worthwhile songs, and his lingering heroin habit.

If you read Get Back: The Unauthorized Chronicle of the Beatles' " Let It Be" Disaster and listen to the various “30 Days” bootlegs, it’s hard to find a day in which Lennon and Ono showed up at Twickenham any time before 12 noon

 

One of my favorite Beatles/Solo Beatles books! One of the few I have re-read several times, and yes I have all 3 versions!

 

Abbey Road was a worldwide monster though, the band in full sail at peak public interest with no asterisks.

 

Lennon points are well-taken, but not sure that "early start time" and "cold soundstage" are myths. Remember, they had the virtual run of EMI Studios since 65(?) at least, with control over session times AND that very familiar environment, so i don't think it's a stretch to suggest that Twickenham didn't foster the best setting for creativity for any of them.