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'Let It Be' 50th anniversary reissues
17 October 2021
3.15pm
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meanmistermustard
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Listened to the remix of ‘LIB ‘ earlier and the overriding thought when doing so is that there are layers but no depth – no idea how that works but something is amiss. I’m not too sure but if the idea of these remixes is to make them more in line with modern mixing then maybe that it is but I could be wrong on the purpose.  On first hearing, and others may be hear it differently, but I first hear vocals then drums followed by the guitars or piano or whatever is left (and oddly enough some weird noises that I’ve never heard before, and I doubt are meant to be there), yet nothing sounds how it should. Maybe that’s the point and I am just old.

I don’t want to go thru the tracks one-by-one but two to briefly highlight are ‘ATU’ which sounds tinny at the beginning and everything is all over the place and ‘IMM’ sounded muffled and meh, most otherwise are alright. The worst offender to me was ‘TLAWR’. We all know that Spector detested the basic track and so heavily shoved on the orchestra and choir to bury it; Paul then heard it and detested what Spector had done and has spent 50 years resenting it. All is fair enough, both are right to a degree. The problem here for me is that it sounds like Giles has had to reach a compromise (it’s been said that Paul asked for the harp to be turned down, I doubt that was all) and so we have the basic track sounding like it’s having a fight with an orchestra to get rid of it, whereas Spector’s just sounded like an overdone ballad. Actually, it reminds me of both the abhorrent Lennon ‘Anthology’ version of ‘Grow Old With Me ‘ with George Martin’s orchestral score or the just as bad ‘Love’ mashup where Sir G crapped out a dreadfully tacky score on top of take one of ‘WMGGW’. It’s very bizarre that the two biggest disappointments for me on the original album (‘ATU’ and ‘TLAWR’) are the biggest letdowns on here. 
One addition I do wish to add is the admission that the best remix of ‘OA909’ is on ‘LIBN’, as far as I can remember that’s the entire positive on it. Here, it again sounds muffled. What is that? Is it better thru speakers and I need to not listen on headphones? You do hear differences and new sounds here and there, some might even be by The Beatles.

Maybe one of the problems is that ‘LIB ‘ is a murky album; there never was a true best take, the band were never really at it to the same level as the other studio albums (except on the Rooftop), and we all know it was all junked and left to whoever to sort out to go and make a nice polished bright ‘Abbey Road ‘. Maybe, therefore, giving ‘LIB ‘ a shine and polish and getting rid of some of the dirt only helps show some of the flaws more. Certainly the biggest revelation and reminder to me is just how good a job Spector did. The original album is so much superior as it was in 1970 and found on the 2009 remaster – tho those who EQ and study every pressing and release in every country will probably think differently.

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17 October 2021
3.23pm
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Spector is the only person who ever understood what to do with the material.

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17 October 2021
3.57pm
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The more I play of this set I’m like “are my ears shot?” I kind of regret buying it. 

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17 October 2021
4.00pm
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meanmistermustard
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Expert Textpert said
Spector is the only person who ever understood what to do with the material.

  

I think that’s the underlying lesson to be taken if not reinforced. Which takes us back to what John said 

 “He was given the shittiest load of badly recorded shit – and with a lousy feeling to it – ever. And he made something out of it 

And he was right.

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17 October 2021
4.47pm
Toxic34
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I don’t think Spector was the only one to assemble the material. I think George Martin would’ve done his usual impressive work to assemble things together.

I also really like the mix of The Long And Winding Road here; now the orchestral overdubs don’t smother the original instrumentation to point of completely burying it. This sounds a lot more like how Paul does it in concert, and more like how I imagine George Martin would’ve handled the overdub.

17 October 2021
7.03pm
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Von Bontee
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I personally don’t believe that dead Spector contributed anything besides a willingness to go through hours of tapes and a buncha non-ironic Adult Contemporary schmaltz-orchestrations, myself. mccartney-shrug_01_gif But at least he never buried the entire project under ATMP -sized reverb…

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One day, a tape-op got a tape on backwards, he went to play it, and it was all "Neeeradno-undowarrroom" and it was "Wow! Sounds Indian!"
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17 October 2021
7.37pm
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meanmistermustard
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Von Bontee said
I personally don’t believe that dead Spector contributed anything besides a willingness to go through hours of tapes and a buncha non-ironic Adult Contemporary schmaltz-orchestrations, myself. mccartney-shrug_01_gif But at least he never buried the entire project under ATMP -sized reverb…

  

He lopped off three minutes from ‘Dig It ‘ which many will be very happy with.

 

If anyone is interested in reading about the rejected compilations that eventually led to Spector’s edition, you can find a lot of information here. The site has been up for a very long time and is fascinating, however, I have no idea if it gets updated so some of the details may be inaccurate. I have no idea.

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17 October 2021
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Von Bontee said
I personally don’t believe that dead Spector contributed anything besides a willingness to go through hours of tapes and a buncha non-ironic Adult Contemporary schmaltz-orchestrations, myself. mccartney-shrug_01_gif But at least he never buried the entire project under ATMP -sized reverb…

  

Adult contemporary schmaltz is what Paul does best anyway, so I never understood why the orchestra bothered him. The smooth jazz version of Long and Winding Road on Give My Regards to Broadstreet tops anything here. Mind you, I love the Spector orchestration and the smooth jazz version, so don’t think I’m being critical here.

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17 October 2021
9.27pm
Toxic34
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Expert Textpert said

Adult contemporary schmaltz is what Paul does best anyway, so I never understood why the orchestra bothered him. The smooth jazz version of Long and Winding Road on Give My Regards to Broadstreet tops anything here. Mind you, I love the Spector orchestration and the smooth jazz version, so don’t think I’m being critical here.

It wasn’t the orchestra itself, it was that Spector did the overdub without telling Paul about it at first. Paul has said, “if he’d come to me and said, ‘I really want to use an orchestra on this,’ I probably would’ve said, ‘Sure, Phil, go for it.’ It’s the not asking that bothers me.”

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17 October 2021
11.51pm
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Mr. Moonlight
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Well, I started out not intending to buy it and it doesn’t seem like I’m missing much. I have the original, …Naked, and some “unofficial material” and I’m happy with that.

"Nothing is Beatle-proof."

18 October 2021
10.35am
Mean Mr Piggie
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Does anyone else here think that the mood you’re in, the time you’re listening, the equipment you’re hearing it on, and any manner of ad hoc hiccupo that’s going on in you’re life makes a difference to what you’re hearing?

I don’t care how many bootlegs have turned up, (since Napster started I’ve listened to a lot, decided it’s too ‘mish-mash’ and mostly out of context, (I bought a vinyl bootleg in ’83 that gave me ‘What’s The New Mary Jane ‘ and a ‘Help ‘ outtake on the same disc. They didn’t care for the story, I don’t care for them), pirate versions). I’ve never found any of it satisfying. To me it’s like listening to the American version of Revolver and thinking you’re getting the same feeling as hearing the original UK version. It’s just not.

I listened through this release as soon as it turned up and I’ve heard so many nuances I hadn’t heard before. The most standout is hearing Pauls’ voice faltering on TLAWR and then hearing how awful the choral voices fitted the song yet the subdued strings worked so well.

On the day it turned up, it sounded amazing, so much room given to each instrument and voice! The day after? Couldn’t be arsed. Today? Loving it.

I realise I’ve got two or three different conversations going on on here but they all coalesce into the point that – I don’t care what bootlegs are available – I want an album from THE BEATLES. Nothing else. And I’m not disappointed by this one…though I do agree with the many sentiments expressed here that expect a soundtrack album from the Disney programmes. That one, endorsed by Ringo, Paul and the estates or not, might be a less easy pill to swallow.

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18 October 2021
12.03pm
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Mean Mr Piggie said
Does anyone else here think that the mood you’re in, the time you’re listening, the equipment you’re hearing it on, and any manner of ad hoc hiccupo that’s going on in you’re life makes a difference to what you’re hearing?

I don’t care how many bootlegs have turned up, (since Napster started I’ve listened to a lot, decided it’s too ‘mish-mash’ and mostly out of context, (I bought a vinyl bootleg in ’83 that gave me ‘What’s The New Mary Jane ‘ and a ‘Help ‘ outtake on the same disc. They didn’t care for the story, I don’t care for them), pirate versions). I’ve never found any of it satisfying. To me it’s like listening to the American version of Revolver and thinking you’re getting the same feeling as hearing the original UK version. It’s just not.

I listened through this release as soon as it turned up and I’ve heard so many nuances I hadn’t heard before. The most standout is hearing Pauls’ voice faltering on TLAWR and then hearing how awful the choral voices fitted the song yet the subdued strings worked so well.

On the day it turned up, it sounded amazing, so much room given to each instrument and voice! The day after? Couldn’t be arsed. Today? Loving it.

I realise I’ve got two or three different conversations going on on here but they all coalesce into the point that – I don’t care what bootlegs are available – I want an album from THE BEATLES. Nothing else. And I’m not disappointed by this one…though I do agree with the many sentiments expressed here that expect a soundtrack album from the Disney programmes. That one, endorsed by Ringo, Paul and the estates or not, might be a less easy pill to swallow.

  

I hope you’re right and I have an aha moment. I did think a few of the album mixes were interesting on first listen.

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18 October 2021
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A question re: I Me Mine , the EP mix.

Is it possible this is the way the tape just sounds and the bootleg presented a cleaned up version?

That would make more sense than that they took it from the bootleg and made it sound worse.

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18 October 2021
1.41pm
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I had a listen to the set on Streaming this morning. I’ll probably buy it once the price drops the right side of £100. I’ve got the barest knowledge of the Beatles bootlegs from around this era. The ones I own (i.e. studio sessions from around 1963 – 1967) have barely been listened to more than five times. I’d much rather have quality over quantity.

18 October 2021
3.48pm
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Do any of the CDs have the Rooftop Concert???

http://i276.photobucket.com/albums/kk38/rickdelsie/The%20Beatles/parlunread_zps28270d9d.gif BEATLES Music gives me Eargasms!  apple01

18 October 2021
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Bongo said
Do any of the CDs have the Rooftop Concert???

  

Only a performance of ‘DLMD’ is on here, I think the first. The concert was omitted as it is felt the full delight is with the images and Giles didn’t want to waste one of the discs with it (he was told how many discs he would get by Apple).

Expert Textpert said
A question re: I Me Mine , the EP mix.

Is it possible this is the way the tape just sounds and the bootleg presented a cleaned up version?

That would make more sense than that they took it from the bootleg and made it sound worse.

  

I’m way off being an expert or even understanding it all, but from what is being said by those who can work all this out, Apple/Giles used a bootleg as the source and made it worse. It’s not the first time with the deluxe sets Apple have utilised bootlegs; If I remember correctly both the promo mix of ‘Penny Lane ‘ and the ‘Goodbye’ demo came from them.

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18 October 2021
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I actually have a hard time believing that. I can understand laziness in not fixing something, but to take something and make it worse would have to be deliberate. What would be the motivation for that? Who would add distortion and hiss and then say “ahh, now it’s perfect”?

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19 October 2021
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Expert Textpert said
I actually have a hard time believing that. I can understand laziness in not fixing something, but to take something and make it worse would have to be deliberate. What would be the motivation for that? Who would add distortion and hiss and then say “ahh, now it’s perfect”?

  

It’s not deliberate. It would be not knowing how to apply the tools subtlety enough to not leave traces and the approval process falling short. It’s easy enough to happen. Apple were applying noise reduction in the 90’s to the BBC tapes which resulted in some of the tracks released being worse than the boots they got the tapes from (‘I Forgot To Remember To Forget’ and ‘That’s Alright Mama’ being two), they were fixed in 2013(?). Giles admitted he mistakenly left one of the piano tracks off ‘A Day In The Life ‘ for ‘1+’ so mistakes do happen.

Martin confesses to one glaring mistake: The stereo mix of Lennon and McCartney’s kitchen sink symphony A Day In The Life is missing a piano, because he opted to use the version created for the Cirque Du Soleil show, Love.

“All of these fans will be going: ‘Why did you take this piano off?’ And the answer is I didn’t – I just used the Love version,” he cringes.

Source: BBC

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19 October 2021
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So you’re saying they did a needle drop of a bootleg and didn’t know how to make the needle drop sound the way it already did? 

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19 October 2021
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Expert Textpert said
So you’re saying they did a needle drop of a bootleg and didn’t know how to make the needle drop sound the way it already did? 

  

I have no idea what exactly Apple have done or how to explain, if you google it and go on the forums you will be able to read all about it in depth. All I know is that the talk on the boards is that the Apple version sounds worse, and, if you listen to the bootlegs, it does.

Regardless of how, why and everything else. What’s on the official box is worse than what was out unofficially before the box came out.

And, if you ignore everything else that exists. The mix on the EP sounds dreadful which has to raise questions on why the hell it has been released.

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