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Let It Be – Super Deluxe Edition repaints Beatles’ final album


The controversy that surrounds the album Let it be This is the most interesting publication of The Beatles over the years. Many observers have not imagined it, a chaotic affair and a sad end to a great legacy. It’s doubtful that any band (any longevity) had as much influence as The Beatles in their seven-year recording career. McCartney still peppers his live setlist with the title track. Some call it a very weak album, but with three No. 1 singles, it certainly guarantees current attention.

The story is fairly familiar. McCartney took up the idea of ​​creating bands, rehearsing and serving completely new songs in the film. The band gathered on the second day of 1969 at Guhy and Dank Twickenham Film Studios (“like playing table tennis in a football stadium”). Peter Jackson’s upcoming film will cancel out the deadly performance, but the studio, located in the basement of the band’s office, quickly offers a second and more productive venue. The intimacy apparently helped, as Billy Preston (who became the only artist to have won the Beatles singles) added.

The Super Deluxe Edition has 57 tracks spread across 5 CDs and a Blu-ray, including a great hardcover book, all delivered in a beautiful slipcase. Purists can get everything in vinyl and modern people can get everything in high-res 96kHz / 24-bit / Dolby Atmos digital mix.

In the giant liner notes, Giles Martin provides some reassuring observations about his father’s role, indicating that the album’s credits should have read “Produced by George Martin, Produced by Phil Specter”. But little Martin not only hinted that the role of co-producer Glenn Johns was important, but the band was “trying to go on dates again like an old married couple.” A prime example of this was “One After 909,” a song written by the band in 1960 but admirably recorded for these sessions. “I’m Me” was probably the song we gave the painters a hint and clear proof that not all four Liverpoodleans were good; George Harrison mourns for all the self-serving positions taken by those around him. Late in action, the recordings on the rooftops of the Apple Records office were the band closest to recovering the excitement they actually felt in their youth, and aptly this was their last live performance.

Includes the famous Glen Johns mix, which had a single idea that the manufacturer would have to recreate the fly-on-wall nature of the process. Presented like a tasteful bootleg (which was often the case), the songs are more studio chatter and complementary in different order. The rebuilt version of the original album is more complete than most people remember from their original hi-fi setups. Most notable is “For You Blue” bringing Paul’s piano efforts to the fore.

The most interesting disc is the “Rehearsal and Apple Jams” collection. It opens with the boys with New Year’s greetings exchanges and splits nicely into the prophetic “everything must pass”. Fortunately for George, his brothers could not do justice to the song and it then became the basis for the release of his epic single (which also recently gave the treatment of the royal reissue issue). Most impressively, Paul and Ringo performed the song at the Royal Albert Hall 34 years later. Concert for George, A sterling tribute rally a year after their bandmate’s death.

In “Gimme Some Truth” we hear that Lennon is trying to get the band interested in recording the song, but will have to wait another day for the specific version. The disc has come out with studio chatter and interesting early versions of the song that will be shown on Abbey Road, their last recorded album.

Across 57 tracks, we hear the band explore music that will become timeless. While “Go Back” is the only song that meets the basic criteria for being made from start to finish, there’s a lot to enjoy. We go from being flies on the walls of the cave Twickenham, to being a spy in the basement studio and then to a lucky visitor on the roof of their office in Savit Savile Row. The latter is the Beatles’ second compulsory tour of any distant tour of London, their latest publication.

McCartney’s proposal brings a happier spin on his feelings about the original album “I must admit, I wasn’t interested in some of his additions and in the end it turned out to be a good Beatles album.” In fact, shortly after Lennon handed the tapes to Phil Specter, McCartney responded to the addition of Specter’s wall sound treatment via a legal letter. And in 2003, McCartney was able to release Let it be – naked, A stripped-down version of the original recording.

The memory brush actually paints with golden strokes. “I want the Beatles to be remembered that way,” McCartney said, referring to the finale, the upcoming six-hour documentary and this re-creation collection.



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