>>THE CD'S BETTER BE REMIXED AS WELL, NOT JUST REMASTERED. <<
Oh, I don't know about that. It'd be like drawing a moustache on the Mona Lisa. Maybe she looks better with it, but it's not as it was mean't to be. I think artists need to walk away from their pieces, accept that it's finished and not go back. Macca was wrong remixing LIB, especially flying in vocals from other takes. Just leave the past alone!
Why NO remastering of Beatles CDs???
listen to clips from our new ep
http://www.ramonahq.com
http://www.ramonahq.com
I enjoyed LIBN very much. It was great to listen to something that was rehashed again. We must all be used to it by now. (1962-1966, 1967-1970, Love Songs, Reel Music, Rock 'n' Roll Music, 20 Greatest Hits, 1...etc..) --Rarities was a different animal. hey should release that package..
However,
I agree that Macca should have stayed out of it and released it as it was intended back in '70.
However,
I agree that Macca should have stayed out of it and released it as it was intended back in '70.
"Take the RIC... Leave the cannoli."
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beatlefreak
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Well, it's doubtful that there will be any remastering of the Beatles catalog while this is going on:
Beatles Sue EMI
Beatles Sue EMI
Ka is a wheel.
Gerald sums up my feelings. There are some nice moments on LIBN and I was overly dismissive when I said "it was a joke".
What I really meant is that I'd have preferred if PmC had just released it in the form it was intended to be released "back in the day".
I like LIBN, I think. But then again, I'm hard pressed to _dislike_ any Beatles material.
Now this could be a herectical comment, but I've grown fond of the Spectorized LIB. While it's certainly overdone, it's also version of the record I grew up with and have good memories of.
What I really meant is that I'd have preferred if PmC had just released it in the form it was intended to be released "back in the day".
I like LIBN, I think. But then again, I'm hard pressed to _dislike_ any Beatles material.
Now this could be a herectical comment, but I've grown fond of the Spectorized LIB. While it's certainly overdone, it's also version of the record I grew up with and have good memories of.
Good points Tom!
Fortunately. it doesn't have to be an "either or"
Both versions are easily commercially available on CD as well it all should be.
But, believe me, if you've ever heard the
"as intended" LIB releases, (the two different L.P. masters engineered "produced" by Glyn Johns [and Beatles authorized]), I think you'd have to agree that it's sadly pathetic. Certainly nothing of "commercial release" quality.
The world press would have eaten them alive if either one of two went out as originally planned!
Fortunately. it doesn't have to be an "either or"
Both versions are easily commercially available on CD as well it all should be.
But, believe me, if you've ever heard the
"as intended" LIB releases, (the two different L.P. masters engineered "produced" by Glyn Johns [and Beatles authorized]), I think you'd have to agree that it's sadly pathetic. Certainly nothing of "commercial release" quality.
The world press would have eaten them alive if either one of two went out as originally planned!
"Your Greatest Power is the Power to Choose"
The whole 'Get Back' concept seems as though it was doomed from the start. Take a band that were having trouble working together, wake them up and put them on a movie studio sound stage surrounded by cameras, and film them creating rock'n'roll at 9:00 or 10:00 AM in the morning. What were they thinking? They were obviously trying not to repeat the 'White Album' experience, but 'Abbey Road' proves that they still had another great studio album in them. In fact, many of the 'Abbey Road' songs had already been written before the 'Get Back' sessions started. In my opinion, they should have done a nice documentary about the making of 'Abbey Road' rather than film themselves "getting back to their roots".
Interestingly, there are hardly even any STILL photos of them during the "Abbey Road" sessions. According to Geoff Emerick's book, they were "walking on eggshells" during much of the making of that album, going out of their way to be polite to one another and making a point of trying not to all be in the same room at the same time. Sounds like it was a strained atmosphere there too, though placid on the surface.
Emerick goes on to say that, for him, the highlight of that summer was watching John, Paul, and George do the guitar solo on "The End" -- he describes them as looking like "three gunslingers" while they were playing it, guitars strapped on, trying to outdo one another. I think that's such a compelling image! After just a brief rehearsal, they apparently banged it out in just a take or two.
And, for once, John left Yoko behind in the control room.
Emerick goes on to say that, for him, the highlight of that summer was watching John, Paul, and George do the guitar solo on "The End" -- he describes them as looking like "three gunslingers" while they were playing it, guitars strapped on, trying to outdo one another. I think that's such a compelling image! After just a brief rehearsal, they apparently banged it out in just a take or two.
And, for once, John left Yoko behind in the control room.
Interesting comment, David.
My first bootleg was the Get Back LP or the Johns version 2. I loved it the from beginning to the end. Even to this day, I still love it. After hearing that version, I pretty much dismissed the Spectorized version all together. Yes, the track versions that Spector selected were far superior to the versions Johns picked. But the dressed up versions he made just didn't not sound like the Beatles.
I've managed to hear Johns Mix 1 and 3 subsequently and really like version 3 with Across the Universe and I Me Mine(true short version). What I loved the most was the banter intersticed between tracks to give it that live feel.
After this, I bought the Get Back Sessions 11 Disc Vinyl set from TMOQ. Loved it as well.
When 30 Days came out from Vigotone, that was overkill, but interesting, nonetheless.
When LIBN was released, I immediately loved it and felt the songs were much stronger in the naked versions than the dressed up versions. It was pure Beatles and not something glamourized to cover up the warts and blemishes. The fidelity is even greater on LIBN. I still like the Johns mix for it's historical integrity and pukka value.
Now I wish there was a version of LIBN with the interstitial banter like the Glyn Johns mix 2 and 3. I've tried to compile my own version but it's one tough task since the source material is not up to par with the LIBN fidelity.
My first bootleg was the Get Back LP or the Johns version 2. I loved it the from beginning to the end. Even to this day, I still love it. After hearing that version, I pretty much dismissed the Spectorized version all together. Yes, the track versions that Spector selected were far superior to the versions Johns picked. But the dressed up versions he made just didn't not sound like the Beatles.
I've managed to hear Johns Mix 1 and 3 subsequently and really like version 3 with Across the Universe and I Me Mine(true short version). What I loved the most was the banter intersticed between tracks to give it that live feel.
After this, I bought the Get Back Sessions 11 Disc Vinyl set from TMOQ. Loved it as well.
When 30 Days came out from Vigotone, that was overkill, but interesting, nonetheless.
When LIBN was released, I immediately loved it and felt the songs were much stronger in the naked versions than the dressed up versions. It was pure Beatles and not something glamourized to cover up the warts and blemishes. The fidelity is even greater on LIBN. I still like the Johns mix for it's historical integrity and pukka value.
Now I wish there was a version of LIBN with the interstitial banter like the Glyn Johns mix 2 and 3. I've tried to compile my own version but it's one tough task since the source material is not up to par with the LIBN fidelity.
Hi Edgar
Don't get me wrong, the Glyn John's versions make for a fascinating listen for a true-Beatlephile and for all Beatle historians.
One of my two versions even has a precise exact re-pro prototype dust sleave it that John Lennon wanted to use!)
But that being said, I don't think the public at large would have reacted kindly at all to it had it been commercially released. I think the reaction would have been even worse then the reaction to the "Magical Mystery Tour" film. And that chaotic time line of 1969, I don't think the Beatles needed that!
They were most wise in shelving the project at that time.
In fact the only 2 reasons LIB DIDN'T become permanently shelved is because first, they had to deliver to United Artists a third movie as per the "three picture deal" that Brian Epstein had them sign a contract for in late 1963 or early 1964.
The second reason was that "sweetheart deal" put together by Allan Klein. This was a revised contract/royalty enhancement on the Beatles behalf which Klein aggressively shoved down EMI's throat in 1969. This new deal also placed Klein at personal financial risk.
Their was no thoughts of any "artistry" at all involved at least at that resurrection from the dead point on LIB. It was purely raw pragmatic stuff driving the machine at that point.
But since LIB was just so raw it was John Lennon's idea to bring in Phil Spector and give him a blank check in terms of "total control" (which Spector always demanded!) to hopefully be able to smoother the LIB thing with ketchup or whatever he had to do to try to make the thing sound commercially viable.
Plus because of the still lingering financial effects of the Apple mess and the way the sale of Northern Songs LTD. had been so badly botched the individual Beatles personally desperately needed the cash flow from this project.
They were at that point in their lives asset rich, but cash poor.
Macca could publicly whine and whine all he wanted to about what Spector did to LIB to make it sound commercially viable, but he Paul McCartney also needed some money rattling around in his jeans too!
But, with ill-fated history behind us, I think LIBN reaches a excellent compromise to give us all a "good idea" of LIB "could have been" if the original recording concept of the L.P. had been successful from its very beginnings in 1969.
Don't get me wrong, the Glyn John's versions make for a fascinating listen for a true-Beatlephile and for all Beatle historians.
One of my two versions even has a precise exact re-pro prototype dust sleave it that John Lennon wanted to use!)
But that being said, I don't think the public at large would have reacted kindly at all to it had it been commercially released. I think the reaction would have been even worse then the reaction to the "Magical Mystery Tour" film. And that chaotic time line of 1969, I don't think the Beatles needed that!
They were most wise in shelving the project at that time.
In fact the only 2 reasons LIB DIDN'T become permanently shelved is because first, they had to deliver to United Artists a third movie as per the "three picture deal" that Brian Epstein had them sign a contract for in late 1963 or early 1964.
The second reason was that "sweetheart deal" put together by Allan Klein. This was a revised contract/royalty enhancement on the Beatles behalf which Klein aggressively shoved down EMI's throat in 1969. This new deal also placed Klein at personal financial risk.
Their was no thoughts of any "artistry" at all involved at least at that resurrection from the dead point on LIB. It was purely raw pragmatic stuff driving the machine at that point.
But since LIB was just so raw it was John Lennon's idea to bring in Phil Spector and give him a blank check in terms of "total control" (which Spector always demanded!) to hopefully be able to smoother the LIB thing with ketchup or whatever he had to do to try to make the thing sound commercially viable.
Plus because of the still lingering financial effects of the Apple mess and the way the sale of Northern Songs LTD. had been so badly botched the individual Beatles personally desperately needed the cash flow from this project.
They were at that point in their lives asset rich, but cash poor.
Macca could publicly whine and whine all he wanted to about what Spector did to LIB to make it sound commercially viable, but he Paul McCartney also needed some money rattling around in his jeans too!
But, with ill-fated history behind us, I think LIBN reaches a excellent compromise to give us all a "good idea" of LIB "could have been" if the original recording concept of the L.P. had been successful from its very beginnings in 1969.
"Your Greatest Power is the Power to Choose"
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beatlefreak
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Kris,
Are you certain about the source? If you listen to Anthology 3, you can hear tracks from the GJ mixes and the chatter is inherent within the mix so one could assume that the chatter was sourced from the hot mics going to multitrack.
David,
I completely agree that the GJ mixes were in no means commercially viable and I understand about the financial quandaries the band et al. were facing during that tumultuous period.
I'm looking at the versions from a artistic point of view and even though some may view this Beatle period as a proto musical-masturbation to appease the cash cows, I for one find most of the tracks to be well written and full of heart and soul.
We all the know the project spawned from Harrison's affinity for The Band and how they released a live concept album. I think it worked well for the Beach Boys and why not the Beatles. I still love the idea of "As Nature Intended" for the Beatles but alas we will never now and I agree that LIBN does give us an inkling of what the album "could" have been.
So what version of the sleeve do you have? Which one is the one JL wanted to use?
I have a few versions myself. One black and white with no label on the top left corner and reads Let It Be and 10 other songs, one color with Electrola as the front label and reads Let It Be and 10 other songs, one color with Electrola as the label and reads Get Back and 9 other songs, one color with Apple as the label and reads Get Back 9 other songs and one slick with Electrola as the label and reads Let It Be and 10 other Songs.
Are you certain about the source? If you listen to Anthology 3, you can hear tracks from the GJ mixes and the chatter is inherent within the mix so one could assume that the chatter was sourced from the hot mics going to multitrack.
David,
I completely agree that the GJ mixes were in no means commercially viable and I understand about the financial quandaries the band et al. were facing during that tumultuous period.
I'm looking at the versions from a artistic point of view and even though some may view this Beatle period as a proto musical-masturbation to appease the cash cows, I for one find most of the tracks to be well written and full of heart and soul.
We all the know the project spawned from Harrison's affinity for The Band and how they released a live concept album. I think it worked well for the Beach Boys and why not the Beatles. I still love the idea of "As Nature Intended" for the Beatles but alas we will never now and I agree that LIBN does give us an inkling of what the album "could" have been.
So what version of the sleeve do you have? Which one is the one JL wanted to use?
I have a few versions myself. One black and white with no label on the top left corner and reads Let It Be and 10 other songs, one color with Electrola as the front label and reads Let It Be and 10 other songs, one color with Electrola as the label and reads Get Back and 9 other songs, one color with Apple as the label and reads Get Back 9 other songs and one slick with Electrola as the label and reads Let It Be and 10 other Songs.
Quote:
" ...one color with Apple as the label and reads Get Back 9 other songs. ..."
END QUOTE
Edgar, this is version one I have in my collection and the one (I believe) Lennon wanted to use although this whole shtich/concept using the same original circa 1963 photographer (Angus McBean), etc. doing a parody of their first L.P. cover Please, Please Me was entirely a Lennon concept from the get go. JWL himself said this in an extended Beatles post-break up interview.
I was 19 when LIB was first released, which was done shortly after The Beatles official break-up in 1970.
The Abbey Road L.P. which received enormous critical praise and sold extremely well was initially released in September 1969.
So, by the time LIB was released it was already "old" and comparisons to it and the far more polished and complex sounding Abbey Road L.P. were inevitable.
Nonetheless, because of the very recently announced break of the quartet just before it's release it astonished everyone by it's near instant super high sales at the cash register.
Objectively of LIB's content was impossible at this point because there was such an emotional global storm over the Fabs break up.
Personally I have very mixed emotions about it.
Some say it is the "weakest" L.P. The Beatles ever made. I disagree on that point.
I think the term "weakest" for any of the Fabs' work will have to go to the Yellow Submarine Original Soundtrack as first released in 1968. There as very few "new" Beatles songs on that one and the new ones were considered by the Beatles themselves to be "throwaways" merely recorded to pacify the film people who badly needed product to use in the animated classic. (The remainder of the 1968 L.P. release contents of course consisting of re-cycled Beatles tunes and newly recorded George Martin film incidentals).
" ...one color with Apple as the label and reads Get Back 9 other songs. ..."
END QUOTE
Edgar, this is version one I have in my collection and the one (I believe) Lennon wanted to use although this whole shtich/concept using the same original circa 1963 photographer (Angus McBean), etc. doing a parody of their first L.P. cover Please, Please Me was entirely a Lennon concept from the get go. JWL himself said this in an extended Beatles post-break up interview.
I was 19 when LIB was first released, which was done shortly after The Beatles official break-up in 1970.
The Abbey Road L.P. which received enormous critical praise and sold extremely well was initially released in September 1969.
So, by the time LIB was released it was already "old" and comparisons to it and the far more polished and complex sounding Abbey Road L.P. were inevitable.
Nonetheless, because of the very recently announced break of the quartet just before it's release it astonished everyone by it's near instant super high sales at the cash register.
Objectively of LIB's content was impossible at this point because there was such an emotional global storm over the Fabs break up.
Personally I have very mixed emotions about it.
Some say it is the "weakest" L.P. The Beatles ever made. I disagree on that point.
I think the term "weakest" for any of the Fabs' work will have to go to the Yellow Submarine Original Soundtrack as first released in 1968. There as very few "new" Beatles songs on that one and the new ones were considered by the Beatles themselves to be "throwaways" merely recorded to pacify the film people who badly needed product to use in the animated classic. (The remainder of the 1968 L.P. release contents of course consisting of re-cycled Beatles tunes and newly recorded George Martin film incidentals).
"Your Greatest Power is the Power to Choose"