The Beatles - Get Back (by Peter Jackson)

[oSuJeff97 3438]

Holy shit this sounds SO good.  It’s crazy this was recorded 50+ years ago.

Also the book that comes with this set is incredible. So much great stuff. 

[4th&Five 41900]

Don’t tell me that! I already have too many fucking Beatles books. 

[oSuJeff97 3438]

12 minutes ago, 4th&Five said:

Don’t tell me that! I already have too many fucking Beatles books. 

Haha well you can justify it by just telling yourself you're buying it for the remastered album... the book is just a bonus...

 

[jimmyjazz 46952]

12 hours ago, oSuJeff97 said:

Holy shit this sounds SO good.  It’s crazy this was recorded 50+ years ago.

Well, the microphones and recording consoles were state of the art back then . . . and now.  "Advances" in the meantime are more or less limited to recording media (analog tape --> various digital formats) and loudspeaker technology.  The latter really doesn't come into play when doing a remix, other than whatever went to tape might have not be judged as accurately as possible given the rather lower-performance monitors of the day.  (Not that some of those monitors aren't classics.)

Really, I think the main issue is whatever noise floor might exist in the original tracks, given the lower signal-to-noise ratio of analog tape relative to digital recording gear.  Even so, the "fat" nature of tape is something that can only be emulated in a digital chain, sometimes for better, sometimes not.

Long story short:  they had some great audio to work with.  All they had to do was dig in and uncover it.

[G650 14421]

39 minutes ago, jimmyjazz said:

Well, the microphones and recording consoles were state of the art back then . . . and now.  "Advances" in the meantime are more or less limited to recording media (analog tape --> various digital formats) and loudspeaker technology.  The latter really doesn't come into play when doing a remix, other than whatever went to tape might have not be judged as accurately as possible given the rather lower-performance monitors of the day.  (Not that some of those monitors aren't classics.)

Really, I think the main issue is whatever noise floor might exist in the original tracks, given the lower signal-to-noise ratio of analog tape relative to digital recording gear.  Even so, the "fat" nature of tape is something that can only be emulated in a digital chain, sometimes for better, sometimes not.

Long story short:  they had some great audio to work with.  All they had to do was dig in and uncover it.

Related subject, I unearthed some cassette tapes from live shows my bands in the mid 90s did. I picked up a cheap player to listen to them and save as digital.

I don't think noise floor accurately captures what cassettes were like, it's practically a noise attic.

[JohnnyRage 1617]

On 11/2/2022 at 11:23 AM, jimmyjazz said:

Well, the microphones and recording consoles were state of the art back then . . . and now.  "Advances" in the meantime are more or less limited to recording media (analog tape --> various digital formats) and loudspeaker technology.  The latter really doesn't come into play when doing a remix, other than whatever went to tape might have not be judged as accurately as possible given the rather lower-performance monitors of the day.  (Not that some of those monitors aren't classics.)

Really, I think the main issue is whatever noise floor might exist in the original tracks, given the lower signal-to-noise ratio of analog tape relative to digital recording gear.  Even so, the "fat" nature of tape is something that can only be emulated in a digital chain, sometimes for better, sometimes not.

Long story short:  they had some great audio to work with.  All they had to do was dig in and uncover it.

Don’t they also have to have been kept cool, dry and out of the light? And the vast majority of recordings were not preserved properly?

[jimmyjazz 46952]

32 minutes ago, JohnnyRage said:

Don’t they also have to have been kept cool, dry and out of the light? And the vast majority of recordings were not preserved properly?

It's possible the tapes degraded, although I doubt that would be true for a band as iconic as The Beatles.  Tapes can often be restored by baking them, too.

[G650 14421]

2 minutes ago, jimmyjazz said:

It's possible the tapes degraded, although I doubt that would be true for a band as iconic as The Beatles.  Tapes can often be restored by baking them, too.

EMI also used better tape than quite a few contemporary studios at the time.

[oSuJeff97 3438]

Plus, they knew the Beatles were the biggest band in the world at the time, so they likely took extra care in proper storage of the master tapes, I would imagine.

[DougO 5261]

My understanding of what they did that was a big step up, was the new AI tech that was able to separate each instrument and voice. When they recorded back in their day, all in the same room, each mic had some spill from other sources. They weren't able to isolate each thing to its own signal. Now they can clean those up, separate everything cleanly as if it were recorded on limitless different tracks, and then remix theml like a more modern digital production.

[JohnnyRage 1617]

Bump

 

 

[HouTex 1912]

I'm 60 and a life long Beatles fan--at least since I was 12, and I just got around to ordering Disney+ to watch this.  I finished it last night and It was very interesting.  

Episode 1 was a little boring at first.  Creating songs from scratch must be hard and watching the sausage get made was a little tedious to me.  Episodes 2 and 3 were very interesting and the ending was about perfect.  Paul has always been my favorite and the first episode and half of episode 2 he came across as a prick.  But he is a master at creating hit songs.  Seemed like Ringo was a good guy that just wanted to keep things going.  It was very interesting that the producers were planning for something of a live TV performance after three weeks or so of rehearsals (with songs that were yet to be created), and the band wasn't even sure where they would be playing.  They were thinking of going to Libya at one point which sounded crazy to me.  

Maybe this is not surprising to anyone, but for the entire last half of the show it seemed obvious that they all knew that their time as The Beatles was soon coming to an end.  Sure, they got together in the studio to record Abbey Road later in the year but there were several not so subtle hints that they were about done as a group even after they got George to come back.  Some of the songs that ended up on Abbey Road were played in Get Back.  

As for the roof top concert it was by far my favorite part of Get Back.  The public's reaction to what they viewed as an impromptu concert was very cool.  I'm probably the most pro-law enforcement guy on this site, but those cops needed to GTFO.  

Oh, I'm still pissed at Yoko.  I could never understand John's attraction.  I can't believe they had to include some of her awful screeching--because she was a co-producer I suppose she insisted.

[JohnnyRage 1617]

I think the Get Back documentary showed the Yoko thing was overblown. The Beatles, more specifically John, would have imploded sooner if not for Yoko.

 

 

[UTCzech III 2932]

 

The wait is over: the Beatles will release their final song, "Now and Then," on Nov. 10. Read an interview with remixer Giles Martin about the decades-in-the-making parting gift, as well as remixed, expanded 'Red' and 'Blue' albums.

MORGAN ENOS

|GRAMMYS/OCT 26, 2023 - 09:16 AM

The Beatles and grief have always been fundamentally intertwined. When John Lennon and Paul McCartney met as teenagers, they bonded over losing their mothers early on. Their manager, Brian Epstein, died in 1967 at only 32; as McCartney put it during the ensuing Get Back sessions, "Daddy's gone away now, you know, and we're on our own at the holiday camp."

Lennon's murder in 1980, at just 40 years old, imbued their story with bottomless longing — not just between this band of brothers, but a world that had to process the Beatles were never coming back. George Harrison's death from cancer, in 2001, was another catastrophic blow.

But the Beatles' message, among many, was that the light prevails. And from "In My Life" to "Eleanor Rigby" to "Julia" to "Let it Be" and beyond, almost nobody made sorrow sound so beautiful. And "Now and Then," billed as "the last Beatles song" — yes, the AI-assisted one you heard about throughout 2023 — is liable to move you to the depths of your soul.

 

Giles Martin On The Second Life Of "Now And Then" & How The Fab Four Are "Still Breaking New Ground"

[UTCzech III 2932]

THE BEATLES’ 1962-1966 (‘THE RED ALBUM’) AND 1967-1970 (‘THE BLUE ALBUM’) TRACKLISTING

1962-1966 (2023 EDITION)
(2CD: stereo / Digital + Streaming: stereo & Dolby Atmos)

* = newly added track
CD1
1: Love Me Do (2023 Mix)
2: Please Please Me (2023 Mix)
3: I Saw Her Standing There (2023 Mix) *
4: Twist And Shout (2023 Mix) *
5: From Me To You (2023 Mix)
6: She Loves You (2023 Mix)
7: I Want To Hold Your Hand (2023 Mix)
8: This Boy (2023 Mix) *
9: All My Loving (2023 Mix)
10: Roll Over Beethoven (2023 Mix) *
11: You Really Got A Hold On Me (2023 Mix) *
12: Can’t Buy Me Love (2023 Mix)
13: You Can’t Do That (2023 Mix) *
14: A Hard Day’s Night (2023 Mix)
15: And I Love Her (2023 Mix)
16: Eight Days A Week (2023 Mix)
17: I Feel Fine (2023 Mix)
18: Ticket To Ride (2023 Mix)
19: Yesterday (2023 Mix)
CD2
1: Help! (2023 Mix)
2: You’ve Got To Hide Your Love Away (2023 Mix)
3: We Can Work It Out (2023 Mix)
4: Day Tripper (2023 Mix)
5: Drive My Car (2023 Mix)
6 Norwegian Wood (This Bird Has Flown) (2023 Mix)
7: Nowhere Man (2023 Mix)
8: Michelle (2023 Mix)
9: In My Life (2023 Mix)
10: If I Needed Someone (2023 Mix) *
11: Girl (2023 Mix)
12: Paperback Writer (2022 Mix)
13: Eleanor Rigby (2022 Mix)
14: Yellow Submarine (2022 Mix)
15: Taxman (2022 Mix) *
16: Got To Get You Into My Life (2022 Mix) *
17: I’m Only Sleeping (2022 Mix) *
18: Here, There And Everywhere (2022 Mix) *
19: Tomorrow Never Knows (2022 Mix) *

1967-1970 (2023 EDITION)
(2CD: stereo / Digital + Streaming: stereo & Dolby Atmos)

* = newly added track
CD1
1: Strawberry Fields Forever (2015 Stereo Mix / 2023 Dolby Atmos Mix)
2: Penny Lane (2017 Mix)
3: Sgt. Pepper’s Lonely Hearts Club Band (2017 Mix)
4: With A Little Help From My Friends (2017 Mix)
5: Lucy In The Sky With Diamonds (2017 Mix)
6: Within You Without You (2017 Mix) *
7: A Day In The Life (2017 Mix)
8: All You Need Is Love (2015 Stereo Mix / 2023 Dolby Atmos Mix)
9: I Am The Walrus (2023 Mix)
10: Hello, Goodbye (2015 Stereo Mix / 2023 Dolby Atmos Mix)
11: The Fool On The Hill (2023 Mix)
12: Magical Mystery Tour (2023 Mix)
13: Lady Madonna (2015 Stereo Mix / 2023 Dolby Atmos Mix)
14: Hey Jude (2015 Stereo Mix / 2023 Dolby Atmos Mix)
15: Revolution (2023 Mix)
CD2
1: Back In The U.S.S.R. (2018 Mix)
2: Dear Prudence (2018 Mix) *
3: While My Guitar Gently Weeps (2018 Mix)
4: Ob-La-Di, Ob-La-Da (2018 Mix)
5: Glass Onion (2018 Mix) *
6: Blackbird (2018 Mix) *
7: Hey Bulldog (2023 Mix) *
8: Get Back (2015 Stereo Mix / 2023 Dolby Atmos Mix)
9: Don’t Let Me Down (2021 Mix)
10: The Ballad Of John And Yoko (2015 Stereo Mix / 2023 Dolby Atmos Mix)
11: Old Brown Shoe (2023 Mix)
12: Here Comes The Sun (2019 Mix)
13: Come Together (2019 Mix)
14: Something (2019 Mix)
15: Octopus’s Garden (2019 Mix)
16: Oh! Darling (2019 Mix) *
17: I Want You (She’s So Heavy) (2019 Mix) *
18: Let It Be (2021 Mix)
19: Across The Universe (2021 Mix)
20: I Me Mine (2021 Mix) *
21: The Long And Winding Road (2021 Mix)
22: Now And Then *

[Gil Bang 26174]

pretty, pretty, pretty good

[UTCzech III 2932]

Lotsa good stuff on the horizon

Quote

The wait is over: With the June 14 release of One Hand Clapping, one of the most bootlegged live albums in musical history will finally receive a proper release. In August 1974, when Band on the Run was enjoying a seven-week consecutive #1 stint at the top of the UK album charts, Paul McCartney and Wings headed to Abbey Road Studios for the filming of a video documentary and possible live studio album – One Hand Clapping. Despite overwhelming demand for newly recorded material from the biggest band in the world at that time, One Hand Clapping was never officially released.

Filmed and recorded over four days and directed by David Litchfield, the release of One Hand Clapping is a historic moment for Paul McCartney fans. Over the years, various parts of One Hand Clapping have been bootlegged with varying degrees of success. Some of the material has also appeared on official McCartney releases. However, the June 14 release, which features the original artwork designed for the project, including a TV sales brochure for the unreleased film at the time, is the first time the audio for the film—plus several additional songs recorded off-camera--have been officially issued.

One Hand Clapping showcased Wings‘ new line-up, fresh off their return from Nashville, where they recorded the classic single Junior’s Farm. Following the sudden departure of Denny Seiwell and Henry McCullough the previous year on the eve of recording the Wings masterpiece Band on the Run, Paul, Linda, and Denny Laine were now joined by guitarist Jimmy McCulloch and drummer Geoff Britton. Additionally joining the band in the studio were orchestral arranger Del Newman and saxophonist Howie Casey, who had previously played with Paul in Hamburg and would go on to join the Wings touring band.

Opening with an instrumental jam that would become the One Hand Clapping theme song, the album features live-in-studio renditions of Wings mega-hits “Live and Let Die,” “Band on the Run,” “Jet,” “My Love,” “Hi, Hi, Hi,” “Junior’s Farm,” Paul’s much loved solo song “Maybe I’m Amazed,” reworked extracts of Beatles’ classics “Let It Be,” “The Long and Winding Road” and “Lady Madonna,” the Moody Blues hit “Go Now” with Denny Laine singing, and a Paul solo piano version of the Harry Akst/Benny Davis Tin Pan Alley classic “Baby Face.”

One Hand Clapping will be released in multiple formats, including an online exclusive 2LP + 7” package featuring an exclusive vinyl single of previously unreleased solo performances recorded on the final day of the sessions in the backyard of Abbey Road studios. These include the unreleased track “Blackpool,” The Beatles’ iconic “Blackbird,” Wings B-side “Country Dreamer,” and cover versions of Eddie Cochran’s “Twenty Flight Rock” (the first song Paul played to John Lennon when they met in 1957) and Buddy Holly’s “Peggy Sue” and “I’m Gonna Love You Too.”

One Hand Clapping serves as a celebration of the enduring legacy of Paul McCartney and Wings. It captured a moment when Wings had found and defined their signature sound – just as Paul had shaped popular culture the decade before with The Beatles, he was doing it once again in the 70s with Wings. This recording gives an insight into the inner workings of the band as they work and play together in the studio. It also underscores Paul’s incredible talent as a live performer: Fifty years on, Paul is still performing many of these songs in packed stadiums across the world.

Quote

For decades, the attitude toward the documentary “Let It Be” in the Beatles‘ camp seemed to be: Let it rest in peace. But the film is finally going to be seen again. A restored version of the 1970 movie is coming soon to Disney+, the same service that brought fans “The Beatles: Get Back,” the 2021 Peter Jackson docuseries that used outtakes from director Michael Lindsay-Hogg‘s original film.

The documentary will re-premiere on Disney+ May 8, certain to be a red-letter day for Beatles fans who have spent most of their lives wondering if it would ever be let out of the vault again. Not only has the 1970 film been dusted off, but it’s been restored by Peter Jackson’s Park Road Post Production using the same technology employed to make the vintage footage in “The Beatles: Get Back” look and sound as revitalized as it did.

“I’m absolutely thrilled that Michael’s movie, ‘Let It Be,’ has been restored and is finally being re-released after being unavailable for decades,” Jackson said in a statement. “I was so lucky to have access to Michael’s outtakes for ‘Get Back,’ and I’ve always thought that ‘Let It Be’ is needed to complete the ‘Get Back’ story. Over three parts, we showed Michael and the Beatles filming a groundbreaking new documentary, and ‘Let It Be’ is that documentary – the movie they released in 1970. I now think of it all as one epic story, finally completed after five decades. The two projects support and enhance each other: ‘Let It Be’ is the climax of ‘Get Back,’ while ‘Get Back’ provides a vital missing context for ‘Let It Be.’ Michael Lindsay-Hogg was unfailingly helpful and gracious while I made ‘Get Back,’ and it’s only right that his original movie has the last word… looking and sounding far better than it did in 1970.”

Lindsay-Hogg elaborated on the new restoration in an interview with the New York Times published Tuesday. “When Peter first showed me some restored images of the film, one was of a couple of the Beatles from the back, and their hair in the original looked very clumped,” the director noted. “Then he said, “Now let me show you what we’ve been working on.” It was the same shot, but you could see the individual strands of hair. The new version is a 21st century version of a 20th century movie. It is certainly brighter and livelier than what ended up on videotape. It looks now like it was intended to look in 1969 or 1970, although at my request, Peter did give it a more filmic look than ‘Get Back,’ which had a slightly more modern and digital look.”

 

[Gil Bang 26174]

Which just reminded me of "Sir Denis Eton-Hogg" and I laughed my ass off. 

[Gil Bang 26174]

just flipped over to TCM app.  "Hard Days Night" is streaming.  

 

(spoiler) they lads are being chased into the Marylebone tube station.

[thrillhammer 686]

never followed this thread because didnt have disney until a couple of weeks ago.   i would call myself a beatles fan, but not a beatles nerd.  i thought it was fascinating, and learned a lot.  epstein died when he was 32?  32?  he was young.   and the beatles never performed live from 1966 to this rooftop concert which was their last live performance ever.   crazy.

they got along so much better than i ever thought.  there were personality differences but nothing unusual.  i always thought paul rubbed the rest the wrong way, but didnt seem that way from the 9 hrs of film.  they come back from lunch one day and paul is working out the very beginnings of get back, and ringo and george start helping him out with the rhythm.  one day ringo is tinkering around with the beginnings of what will become octopuses garden, and george comes over and helps him out.  another day george is on the piano messing around with what will become old brown shoe and others join in to help him along.   funny that george seems the most helpful, but also was the unhappiest.  at one point (i cant remember which song they were working on), he says you guys dont really need a second guitarist.  and he's the only one that mentions going solo.

there was zero friction from yoko also, but it was surprising that she showed up so much (practically every day).   even though she didnt say much or throw out unsolicited advice, she struck me as the clingy, insecure type.  i have a feeling she was worried about groupies stealing her man away from her.

one thing i liked is after they'd been in studio 2-3 weeks and the songs weren't coming fast enough, paul pulls john aside and they have this standup conversation and paul has every confidence that john will "come through with the goods".  they talked like they were good friends.

i wonder how many hours of film is actually in the vault.  for peter jackson to edit this down to 8-9 hrs, there was a lot left off.  i was fascinated by it and wouldnt mind watching more of the song development.  in each episode they would show the calendar and put a big black x on the date after they called it a night, but each day was only 30 min of film at most.   I would have liked to have seen more, but i can see how some might find that boring.  the 1.5 hr let it be movie was practically worthless after watching get back.  

 

 

[Gil Bang 26174]

8 hours ago, thrillhammer said:

never followed this thread because didnt have disney until a couple of weeks ago.   i would call myself a beatles fan, but not a beatles nerd.  i thought it was fascinating, and learned a lot.  epstein died when he was 32?  32?  he was young.   and the beatles never performed live from 1966 to this rooftop concert which was their last live performance ever.   crazy.

they got along so much better than i ever thought.  there were personality differences but nothing unusual.  i always thought paul rubbed the rest the wrong way, but didnt seem that way from the 9 hrs of film.  they come back from lunch one day and paul is working out the very beginnings of get back, and ringo and george start helping him out with the rhythm.  one day ringo is tinkering around with the beginnings of what will become octopuses garden, and george comes over and helps him out.  another day george is on the piano messing around with what will become old brown shoe and others join in to help him along.   funny that george seems the most helpful, but also was the unhappiest.  at one point (i cant remember which song they were working on), he says you guys dont really need a second guitarist.  and he's the only one that mentions going solo.

there was zero friction from yoko also, but it was surprising that she showed up so much (practically every day).   even though she didnt say much or throw out unsolicited advice, she struck me as the clingy, insecure type.  i have a feeling she was worried about groupies stealing her man away from her.

one thing i liked is after they'd been in studio 2-3 weeks and the songs weren't coming fast enough, paul pulls john aside and they have this standup conversation and paul has every confidence that john will "come through with the goods".  they talked like they were good friends.

i wonder how many hours of film is actually in the vault.  for peter jackson to edit this down to 8-9 hrs, there was a lot left off.  i was fascinated by it and wouldnt mind watching more of the song development.  in each episode they would show the calendar and put a big black x on the date after they called it a night, but each day was only 30 min of film at most.   I would have liked to have seen more, but i can see how some might find that boring.  the 1.5 hr let it be movie was practically worthless after watching get back.  

 

 

Yoko was worried about somebody stealing John, because SHE fucking stole John. 

[UTCzech III 2932]

Yeah yeah yeah!

 

[Steamboat1874 4280]

On 11/15/2024 at 10:05 AM, UTCzech III said:

Yeah yeah yeah!

 

This looks incredible.

Many of you guys that are younger will never understand the affect they had, not only in America, but the entire world and oh by the way…..the music was pretty damn good too.

[DougO 5261]

That could be even better than the longass doc. Like you're right there in the middle of it, a Beatles fan's dream.

[Shanee 2]

On 11/15/2024 at 9:35 PM, UTCzech III said:

Yeah yeah yeah!

 

It's hard for us to fully grasp how revolutionary they were. Like, we can listen to their music now (and yeah, it's incredible), but we'll never experience that cultural earthquake they caused in real time.

[DougO 5261]

I watched 64 a couple of nights ago. I think they used the best parts in the trailer, otherwise it was mostly pretty familiar archival stuff we've seen before. But maybe cleaned up better. Still a quality watch, but was hoping for more.

[Steamboat1874 4280]

On 12/6/2024 at 9:53 PM, DougO said:

I watched 64 a couple of nights ago. I think they used the best parts in the trailer, otherwise it was mostly pretty familiar archival stuff we've seen before. But maybe cleaned up better. Still a quality watch, but was hoping for more.

Just finished and you are right however, there was quite a bit of new stuff I had never seen before.

It was the perspective that I thought really caught the emotion of everything that was great.

That very first interview where the guy is trying to describe the moment and what it meant to him.

You could see the emotion as he paused and try to express what it was like.

His comment was spot on….

”It was like being in the dark and then the light came on.”